METZ are a noisy guitar, bass and drums three-piece from Toronto and their self-titled debut is a frenetic statement of intent, featuring whirling guitars, chunky, distorted drums and singer and guitarist Alex Edkins’ abrasive vocals.
Album opener ‘Headache’ is vibrant and punchy and sets the tone for what follows, though METZ’s din is far more brutal than anything their compatriots Arcade Fire have ever managed to conjure, their sound owing more to the Seattle scene of the ‘90s than to any indie music of the last ten years.
Given that METZ are signed to SubPop and make catchy but uncompromising rock music featuring large doses of feedback, comparisons with Nirvana are inevitable and the influence of grunges principle exponents is to be felt at almost every turn.
METZ, like any new band, may be excused for wearing their influences on their sleeves on their first record. Also, the focus and ferocity of their music and the ease with which they stamp out hooky but caustic power-pop demonstrates a band that has plenty of potential to develop far beyond being labelled as mere clones.
Whether the group wants to expand its musical horizons or not is another matter of course. While other bands might be tempted to change gears at some point, METZ remain unrelenting to the end, as album closer ‘Negative Space’ provides an edgy, fast-paced conclusion before a ‘bonus’ burst of noise fades into silence.
In a Nutshell: Unrelenting, unapologetic post-punk