METZ
http://www.metzztem.com
https://www.facebook.com/metz
https://twitter.com/METZtheband
To begin: “I look at it like this,” METZ frontman Alex Edkins says. “You start a band, just as something to do, because music’s what makes you tick, the thing you dream about and think about and that’s it. You never think that you’ll be able to do it all the time. But then, for some inexplicable reason, people actually listen and latch on and the band begins to take on new meaning. All of a sudden there are expectations and pressure, real or imagined, to change who you are. It was important to us, when making this record, not to give in to that pressure.” What happens when a seemingly irresistible force meets an immovable object is a serviceable metaphor for the music METZ creates, both live and on record. Now behold II, the concussive new full-length from what is arguably North America’s finest touring rock band. Written and recorded in 2014, after two years of constant touring behind their rightly adored self-titled debut, II is METZ at their most true to form—as pure an expression of what they do as can currently be committed to tape. The guitars are titanic, the drums ill-tempered, the vocals chilling, and the volume worrisome. Though they incorporated new instruments, (baritone guitar, tape loops, piano, synth, found sounds) and stretched out the arrangements, they still managed to “stay true to what made us tick in the first place: that immediacy,” Edkins calls it. “If it punches you in the gut.” And does it ever.
Speedy Ortiz
http://speedyortiz.bandcamp.com
https://www.facebook.com/speedyortiz
https://twitter.com/killquilty
Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge! When considering Massachusetts’ Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that’s characterized the band’s nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. “I’m not bossy, I’m the boss,” Sadie Dupuis sings on “Raising the Skate,” invoking in spirit one half of the Carter-Knowles clan and echoing the other’s wordplay. And wordplay makes sense, considering Dupuis-the band’s songwriter, guitarist, and frontwoman-spent the band’s first few years teaching writing at UMass Amherst. She’s drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band’s 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock. The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members’ lives in general. They would get the damn flowers themselves.
Dilly Dally
https://soundcloud.com/dilly-dally
https://www.facebook.com/DillyDallyTO
https://twitter.com/dillydallyto
"All types of crazy… as cathartic to listen to as it is for Dilly Dally to perform" – Fader
"Sexy, menacing, marching, triumphant, and chaotic" – SPIN
Dilly Dally began as a teenage dream shared by Katie Monks and Liz Ball. The two shared a love for dreamy, grungy guitars, epic pop ballads, and began writing music together in their Toronto apartment.
In spring 2014, Dilly Dally self-released their first single, entitled 'Next Gold.' The song has since received praise from Pitchfork, NME, and Brooklyn Vegan. It came from a collection of material the band recorded with producers Leon Taheny (Owen Pallett, Austra) and Josh Korody (Fucked Up, Greys) at Candle Studios. That October, the band released a 7" single "Candy Mountain/Green" through Fat Possum/Buzz Records.
show less
http://www.metzztem.com
https://www.facebook.com/metz
https://twitter.com/METZtheband
To begin: “I look at it like this,” METZ frontman Alex Edkins says. “You start a band, just as something to do, because music’s what makes you tick, the thing you dream about and think about and that’s it. You never think that you’ll be able to do it all the time. But then, for some inexplicable reason, people actually listen and latch on and the band begins to take on new meaning. All of a sudden there are expectations and pressure, real or imagined, to change who you are. It was important to us, when making this record, not to give in to that pressure.” What happens when a seemingly irresistible force meets an immovable object is a serviceable metaphor for the music METZ creates, both live and on record. Now behold II, the concussive new full-length from what is arguably North America’s finest touring rock band. Written and recorded in 2014, after two years of constant touring behind their rightly adored self-titled debut, II is METZ at their most true to form—as pure an expression of what they do as can currently be committed to tape. The guitars are titanic, the drums ill-tempered, the vocals chilling, and the volume worrisome. Though they incorporated new instruments, (baritone guitar, tape loops, piano, synth, found sounds) and stretched out the arrangements, they still managed to “stay true to what made us tick in the first place: that immediacy,” Edkins calls it. “If it punches you in the gut.” And does it ever.
Speedy Ortiz
http://speedyortiz.bandcamp.com
https://www.facebook.com/speedyortiz
https://twitter.com/killquilty
Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge! When considering Massachusetts’ Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that’s characterized the band’s nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. “I’m not bossy, I’m the boss,” Sadie Dupuis sings on “Raising the Skate,” invoking in spirit one half of the Carter-Knowles clan and echoing the other’s wordplay. And wordplay makes sense, considering Dupuis-the band’s songwriter, guitarist, and frontwoman-spent the band’s first few years teaching writing at UMass Amherst. She’s drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band’s 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock. The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members’ lives in general. They would get the damn flowers themselves.
Dilly Dally
https://soundcloud.com/dilly-dally
https://www.facebook.com/DillyDallyTO
https://twitter.com/dillydallyto
"All types of crazy… as cathartic to listen to as it is for Dilly Dally to perform" – Fader
"Sexy, menacing, marching, triumphant, and chaotic" – SPIN
Dilly Dally began as a teenage dream shared by Katie Monks and Liz Ball. The two shared a love for dreamy, grungy guitars, epic pop ballads, and began writing music together in their Toronto apartment.
In spring 2014, Dilly Dally self-released their first single, entitled 'Next Gold.' The song has since received praise from Pitchfork, NME, and Brooklyn Vegan. It came from a collection of material the band recorded with producers Leon Taheny (Owen Pallett, Austra) and Josh Korody (Fucked Up, Greys) at Candle Studios. That October, the band released a 7" single "Candy Mountain/Green" through Fat Possum/Buzz Records.
METZ
http://www.metzztem.com
https://www.facebook.com/metz
https://twitter.com/METZtheband
To begin: “I look at it like this,” METZ frontman Alex Edkins says. “You start a band, just as something to do, because music’s what makes you tick, the thing you dream about and think about and that’s it. You never think that you’ll be able to do it all the time. But then, for some inexplicable reason, people actually listen and latch on and the band begins to take on new meaning. All of a sudden there are expectations and pressure, real or imagined, to change who you are. It was important to us, when making this record, not to give in to that pressure.” What happens when a seemingly irresistible force meets an immovable object is a serviceable metaphor for the music METZ creates, both live and on record. Now behold II, the concussive new full-length from what is arguably North America’s finest touring rock band. Written and recorded in 2014, after two years of constant touring behind their rightly adored self-titled debut, II is METZ at their most true to form—as pure an expression of what they do as can currently be committed to tape. The guitars are titanic, the drums ill-tempered, the vocals chilling, and the volume worrisome. Though they incorporated new instruments, (baritone guitar, tape loops, piano, synth, found sounds) and stretched out the arrangements, they still managed to “stay true to what made us tick in the first place: that immediacy,” Edkins calls it. “If it punches you in the gut.” And does it ever.
Speedy Ortiz
http://speedyortiz.bandcamp.com
https://www.facebook.com/speedyortiz
https://twitter.com/killquilty
Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge! When considering Massachusetts’ Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that’s characterized the band’s nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. “I’m not bossy, I’m the boss,” Sadie Dupuis sings on “Raising the Skate,” invoking in spirit one half of the Carter-Knowles clan and echoing the other’s wordplay. And wordplay makes sense, considering Dupuis-the band’s songwriter, guitarist, and frontwoman-spent the band’s first few years teaching writing at UMass Amherst. She’s drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band’s 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock. The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members’ lives in general. They would get the damn flowers themselves.
Dilly Dally
https://soundcloud.com/dilly-dally
https://www.facebook.com/DillyDallyTO
https://twitter.com/dillydallyto
"All types of crazy… as cathartic to listen to as it is for Dilly Dally to perform" – Fader
"Sexy, menacing, marching, triumphant, and chaotic" – SPIN
Dilly Dally began as a teenage dream shared by Katie Monks and Liz Ball. The two shared a love for dreamy, grungy guitars, epic pop ballads, and began writing music together in their Toronto apartment.
In spring 2014, Dilly Dally self-released their first single, entitled 'Next Gold.' The song has since received praise from Pitchfork, NME, and Brooklyn Vegan. It came from a collection of material the band recorded with producers Leon Taheny (Owen Pallett, Austra) and Josh Korody (Fucked Up, Greys) at Candle Studios. That October, the band released a 7" single "Candy Mountain/Green" through Fat Possum/Buzz Records.
read more
http://www.metzztem.com
https://www.facebook.com/metz
https://twitter.com/METZtheband
To begin: “I look at it like this,” METZ frontman Alex Edkins says. “You start a band, just as something to do, because music’s what makes you tick, the thing you dream about and think about and that’s it. You never think that you’ll be able to do it all the time. But then, for some inexplicable reason, people actually listen and latch on and the band begins to take on new meaning. All of a sudden there are expectations and pressure, real or imagined, to change who you are. It was important to us, when making this record, not to give in to that pressure.” What happens when a seemingly irresistible force meets an immovable object is a serviceable metaphor for the music METZ creates, both live and on record. Now behold II, the concussive new full-length from what is arguably North America’s finest touring rock band. Written and recorded in 2014, after two years of constant touring behind their rightly adored self-titled debut, II is METZ at their most true to form—as pure an expression of what they do as can currently be committed to tape. The guitars are titanic, the drums ill-tempered, the vocals chilling, and the volume worrisome. Though they incorporated new instruments, (baritone guitar, tape loops, piano, synth, found sounds) and stretched out the arrangements, they still managed to “stay true to what made us tick in the first place: that immediacy,” Edkins calls it. “If it punches you in the gut.” And does it ever.
Speedy Ortiz
http://speedyortiz.bandcamp.com
https://www.facebook.com/speedyortiz
https://twitter.com/killquilty
Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge! When considering Massachusetts’ Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that’s characterized the band’s nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. “I’m not bossy, I’m the boss,” Sadie Dupuis sings on “Raising the Skate,” invoking in spirit one half of the Carter-Knowles clan and echoing the other’s wordplay. And wordplay makes sense, considering Dupuis-the band’s songwriter, guitarist, and frontwoman-spent the band’s first few years teaching writing at UMass Amherst. She’s drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band’s 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock. The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members’ lives in general. They would get the damn flowers themselves.
Dilly Dally
https://soundcloud.com/dilly-dally
https://www.facebook.com/DillyDallyTO
https://twitter.com/dillydallyto
"All types of crazy… as cathartic to listen to as it is for Dilly Dally to perform" – Fader
"Sexy, menacing, marching, triumphant, and chaotic" – SPIN
Dilly Dally began as a teenage dream shared by Katie Monks and Liz Ball. The two shared a love for dreamy, grungy guitars, epic pop ballads, and began writing music together in their Toronto apartment.
In spring 2014, Dilly Dally self-released their first single, entitled 'Next Gold.' The song has since received praise from Pitchfork, NME, and Brooklyn Vegan. It came from a collection of material the band recorded with producers Leon Taheny (Owen Pallett, Austra) and Josh Korody (Fucked Up, Greys) at Candle Studios. That October, the band released a 7" single "Candy Mountain/Green" through Fat Possum/Buzz Records.
show less
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