'90s Grunge And Post-Hardcore Noise Damage
Dit concert is verplaatst naar 5 mei 2022 i.v.m. de corona crisis. Kaarten blijven geldig. Kaartkopers hebben bericht gehad.
Kun je niet op de nieuwe datum, stuur dan een mail naar email@example.com met daarin je IBAN en de naam van het concert. Dit kan tot uiterlijk 1 november 2021. Daarna nemen we geen tickets meer terug.
EN: This concert is rescheduled to 2022 due to the corona crisis. Tickets remain valid.
Unable to attend? To get a refund, send an email to firstname.lastname@example.org with the name of the event and your IBAN. Refunds are possible until november 1st 2021
“Change is inevitable if you’re lucky”, says guitarist and vocalist Alex Edkins while talking about ‘Atlas Vending’, the fourth full-length album by Toronto’s METZ. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.”
The music made by Edkins and his compatriots Hayden Menzies (drums) and Chris Slorach (bass) has always been a little difficult to pin down. Their earliest recordings contained nods to the teeming energy of early ‘90s DIY hardcore, the aggravated angularities of This Heat, and the noisy riffing of AmRep’s quintessential guitar manglers, but there was never a moment where METZ sounded like they were paying tribute to the heroes of their youth.
If anything, the sonic trajectory of their albums captured the journey of a band shedding influences and digging deeper into their fundamental core—steady propulsive drums, chest-thumping bass lines, bloody-fingered guitar riffs, the howling angst of our fading innocence. With ‘Atlas Vending’, METZ not only continues to push their music into new territories of dynamics, crooked melodies, and sweat-drenched rhythms, they explore the theme of growing up and maturing within a format typically suspended in youth.