Metz – ‘Up on Gravity Hill’ album review: the resounding sound of a band pushing on
THE SKINNY: The Metz that we find on their new album, Up on Gravity Hill, are entirely comfortable with the space they occupy. The trio understands they’re not heavy enough for the metal and hardcore crowd and are too resounding for indie fans. However, inhabiting this margin has allowed them to continue refining and expanding their sound without genre constraints. They are Metz, and that is whatever they want it to be. On their fifth album, they build on the advancements of 2020’s Atlas Vending and summon their broadest sonic palette yet.
Up on Gravity Hill is a collection of eight tracks, mostly varying in nature. However, there is undoubtedly a general focus on harmony on this record, whereas, on past ones, dissonance and fury were paramount. While Metz have always conjured an emphatic wall of sound, this time out, it’s more atmospheric than ever before, helped on by the presence of composer Owen Pallett, who’s helped them further explore their cinematic proclivities.
Not only does frontman and guitarist Alex Edkins tap into his other work as a film and TV composer, but lyrically, he also wears his heart on his sleeve more confidently than ever. Drawing upon topics ranging from the impermanence of life to advertising, his frank words imbue this rich opus with a further dose of authenticity as Metz continue to write their story and exhibit that there are many chapters ahead. As ever, bassist Chris Slorach and drummer Hayden Menzies also play a significant role in propping up this latest sonic leviathan, as does the production, helped on by engineer Seth Manchester, as it expertly toes the line between crispness and grit.
Perfect for driving, the gym and gearing up for a date, Up on Gravity Hill is the sound of a Metz who have been playing together for over a decade, and are continuing to move in unison. The spiky guitars remain, as do the pounding rhythm section and driving choruses, but there’s so much else at play here, with a depth that only a couple of listens will not fully account for.
For fans of: Flannel shirts, Fender Jazzmasters and swigging whiskey before a show.
A concluding comment from my Grandad: “You like this? I can’t understand a goddamn word of it.”
Up on Gravity Hill track by track:
Release Date: April 12th | Producer: Metz / Seth Manchester | Label: Sub Pop
‘No Reservation / Love Comes Crashing’: The art of the album opener is something that so many bands fail to master, but it’s something that Metz have always been one of the best at. Whether it be the chimes of Edkins’ almost Swervedriver-like guitar, the tension stoked by the rhythm section’s frenetic groove or the churning climax, there is an array of stellar aspects at play within it. This is one of the best rock tracks released this year. [5/5]
‘Glass Eye’: A song that bears hallmarks of vintage Metz, it is a welcome second stop, with Edkins’s infectious but noisy guitar, his impassioned delivery and the general dynamics confirming this nature. It’s a piece that displays how talented the frontman is in delivering such animated performances as a vocalist and guitarist, which is no mean feat. The use of the tremolo arm towards the end was a nice textural surprise, too. [4/5]
‘Entwined (Street Light Buzz)’: This track ramps up the energy a little more, with the reverb-drenched vocals, the clank of Slorach’s bass and the appropriately dynamic performance of Menzies harking back to the trio’s first two records. It’s classic Metz in that it’s perfect for any situation demanding stamina. Yet, the band also illustrate how far they’ve come with this effort. The middle section, with the repeated “Where did you go?” line and clean pangs of the Jazzmaster, is one of the most spine-tingling moments the group have ever delivered. [4.5/5]
’99’: Due to the simplistic and unique nature of the chorus – wherein Edkins repeats the eponymous number – his swollen guitar, the boom of the rhythm section, and stabs of the keyboard, it almost veers into pop territory. However, it remains firmly Metz thanks to the all-encompassing noise underpinning it. [3.5/5]
‘Superior Mirage’: This is another stop confirming how far Metz have come. It’s catchy but envelops the listener, as a convergence of repeatedly picked chords, the keyboard, and rhythm section suspend us until the noise kicks in. Toeing the line between harmony and fury perfectly, with a touch of psychedelia thrown in for good measure, it has you heading straight for the repeat button. [4/5]
‘Wound Tight’: Another thrilling marriage of dissonance and harmony strewn together by Edkins’ snotty vocals. While this one does nothing that Metz haven’t done in the past, it’s still a hoot. [3.5/5]
‘Never Still Again’: As a guitarist, Edkins has taken things up on the new album. He can prompt the hairs on the back of the neck to rise with the choral jangle of his axe but still produce clangourous power in other sections, with ample grit underpinning them. Perhaps a reflection of his general nature as an artist, this aspect of his work on the penultimate number is stellar. [4/5]
‘Light Your Way Home’: When we mention Edkins wearing his heart on his sleeve, the melancholic closing number typifies this change. While the band have always toyed with a degree of sadness, here it is the most full-frontal it has ever been. A slow-burning composition that’s almost balladic in areas, it’s comprised of an emotional duet between Edkins and Black Mountain’s Amber Webber. Furthermore, the piercing melody that arises during the chorus is simply wonderful. [4/5]
Never Miss A Beat
The Far Out New Music Newsletter
All the latest New Music from the independent voice of culture.
Straight to your inbox.