Metz

CMW & Lee's Palace Present

Metz

Protomartyr, Fake Palms

Fri, May 1, 2015

Doors: 9:00 pm

Lee's Palace

Toronto, ON

$16.00

Sold Out

This event is 19 and over

www.leespalace.com

 

 

Metz - (Set time: 11:30 PM)
Metz
Since releasing their self-titled debut record in 2012, which The New Yorkercalled, “One of the year’s best albums...a punishing, noisy, exhilarating thing,” the Toronto-based 3-piece METZ have garnered international acclaim as one of the most electrifying and forceful live acts, touring widely and extensively, playing hundreds of shows each year around the world.Now, Alex Edkins (guitar, vocals), along with Hayden Menzies (drums), and Chris Slorach (bass) are set to unleash their highly-anticipated third full-length album, Strange Peace, an emphatic but artful hammer swing to the status quo."The best punk isn't an assault as much as it's a challenge —to what's normal, to what's comfortable, or simply to what's expected. Teetering on the edge of perpetual implosion,” NPRwrote in their glowing review of METZ’s 2015 second album, II.Strange Peacewas recorded in Chicago, live off the floor to tape with Steve Albini. The result is a distinct artistic maturation into new and alarming territory, frantically pushing past where the band has gone before, while capturing the notorious intensity of their live show.“Recording in Chicago was a blast. We tracked fourteen songs in four days. It was the first time we felt confident enough to just play live and roll tape,” Edkins said of the recording process. “Strange Peaceis much morediverse and varied than anything we’ve done before, which was exhilarating, but terrifying, too. We took the tapes home to Toronto feeling like we’d made the record we wanted to make.”The trio continued to assemble the album (including home recordings, additional instrumentation) back in their hometown, adding the finishing touches with longtime collaborator, engineer and mixer, Graham Walsh.From the ferocious opening track, “Mess of Wires,” we’re met by the sheer force and fierce musicianship we’ve come to expect from METZ. With the unhinged, post-punk fragments of “Drained Lake,” and the whirling, acerbic pop features of "Cellophane," the band's hectic progression becomes clear. But Strange Peaceisn’t merely a collection of eleven uninhibited and urgent songs. It’s also a kind of sonic venting, a truculent social commentary that bludgeons and provokes, excites and unsettles.“The songs on Strange Peaceare about uncertainty," Edkins explains. "They're about recognizing that we're not always in control of our own fate, and about admitting our mistakes and fears. They're about finding some semblance of peace within the chaos."With all the pleasurable tension and anxiety of a fever dream, Strange Peaceis equal parts challenging and accessible. It isthis implausible balancing act, moving from one end of the musical spectrum to the other, that only a band of METZ’s power and capacity can maintain: discordant and melodic, powerful and controlled, meticulous and instinctive, subtle and complex, precise and reckless, wholehearted and merciless, brutal and optimistic, terrifying and fun.
“Their whiplash of distortion is made with precision, a contained chaos. But you would never talk about them like that. Because METZ are not something you study or analyze,” wrote Liisa Ladouceur in Exclaim!“They are something you feel: a transfer of energy, pure and simple.”In other words: to feel something, fiercely and intensely, but together, not alone
Protomartyr - (Set time: 10:30 PM)
Protomartyr
After a year of extensive touring in support of 2015’s The Agent Intellect, Protomartyr returned to their practice space in a former optician’s office in Southwest Detroit. Guitarist Greg Ahee—inspired by The Raincoats’ Odyshape, Mica Levi’s orchestral compositions, and Protomartyr’s recent collaboration with post-punk legends The Pop Group, for Rough Trade’s 40th anniversary—began writing new music that artfully expanded on everything they’d recorded up until that point. The result is Relatives In Descent, their fourth full-length and Domino debut. Though not a concept album, it presents twelve variations on a theme: the unknowable nature of truth, and the existential dread that often accompanies that unknowing. This, at a moment when disinformation and garbled newspeak have become a daily reality.

“I used to think that truth was something that existed, that there were certain shared truths, like beauty,” says singer Joe Casey. “Now that’s being eroded. People have never been more skeptical, and there’s no shared reality. Maybe there never was.”

Relatives In Descent offers new layers and new insights, without sanding any of the edges born from their days as a Detroit bar band. Ahee’s guitar still crackles and spits electricity. Casey’s voice continues to shift naturally between dead-eyed croon and fevered bark. Drummer Alex Leonard and bassist Scott Davidson remain sharp and propulsive, a rhythm section that’s as agile as it is adventurous. But this is also Protomartyr at their most impressive. After months of rehearsal, the band decamped to Los Angeles, California for two weeks in March of 2017, to record at 64Sound in Highland Park. Co-produced and recorded with Sonny DiPerri (Animal Collective, Dirty Projectors), who helped capture the band’s long-simmering vision for something more complex, but no less visceral, Relatives In Descent also features contributions from violinist Tyler Karmen and additional synths by Cheveu’s Olivier Demeaux.

It all begins with “A Private Understanding,” pegged as the album’s opening statement the second it was finished, and a wellspring from which the following eleven songs flow. At once beautiful and brutal, it mutates from drum-led oddity to unlikely anthem, with some of Casey’s most potent lyrical work at its center: “Sorrow’s the wind blowing through/Truth is hiding in the wire.” He’d originally approached the writing on this album as an opportunity to move away from the anger and personal despair that defined much of Protomartyr’s previous three albums. But a lot has happened in the past two years. Disturbed by happenings both local (the ongoing, man-made tragedy of the Flint water crisis) and national (just about everything), Casey drew influence from the songwriting of Ben Wallers, the recently translated stories of Irish writer Máirtín Ó Cadhain, and Robert Burton’s The Anatomy of Melancholy , a sprawling, 17th century masterwork that provided both solace and confirmation.

One can hear these influences throughout , be it in the wary reportage of “Here Is The Thing” or the uncanny menace of “Windsor Hum”, the shining city of “Don’t Go To Anacita” or the triptych of delusions both “good” and “bad” that is “Up The Tower”, “Night-Blooming Cereus”, and “Male Plague”. In the end, Relatives In Descent offers a small light in the darkness, while never denying that we are all just standing in the dark.
Fake Palms - (Set time: 9:30 PM)
Venue Information:
Lee's Palace
529 Bloor St. West
Toronto, ON, M5S 1Y5
http://www.leespalace.com/