Seis­mic Shift

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METZ

Strange Peace

Though Toronto’s METZ are still gen­er­at­ing cat­er­waul­ing hur­ri­canes of sound, these days, pri­mary lyri­cist/gui­tarist Alex Ed­kins is fix­ated on the ten­sion within the eye of the storm. Strange Peace is wholly in­formed by change, whether it’s band mem­bers’ im­pend­ing fa­ther­hood, an im­poster win­ning the White House or the con­scious sense that some­thing seis­mic has shifted within so­ci­ety gen­er­ally. METZ have never sounded so cun­ning, con­fronta­tional and, yet, so com­pellingly un­cer­tain. The stark­ness of these ob­ser­va­tions is bol­stered by Steve Al­bini, who en­gi­neered the ses­sions. And while the band chal­lenge them­selves, there’s also a re­as­sur­ing as­pect to the calm con­fi­dence of METZ here, though they find them­selves in a lost world. (Royal Moun­tain/Sub Pop)

Why take more risks on Strange Peace?

Bassist Chris Slo­rach: On the sec­ond record, we felt we had some­thing to prove, whereas on this one, the pres­sure was off. It felt like the most nat­u­ral of the three.

Did you like work­ing with METZ?

En­gi­neer Steve Al­bini: I en­joyed it. They seem to be part of a con­tem­po­rary tra­di­tion of noisy rock bands where there’s a sense of fun about what they’re do­ing, de­spite it be­ing abra­sive and heavy-sound­ing at times.

How did the ses­sions with Al­bini go?

Ed­kins: We recorded for four days and we did 14 songs, which is in­cred­i­bly fast for us. He’s a total genius; the pre­ci­sion and knowl­edge of his room and his equip­ment is pretty wild to wit­ness.

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