Metz + Crows @ Hare and Hounds, 30th October 2015
Due to an early curfew, I missed the first couple of tracks of Crows set but to walk in part way through certainly awakens all of your senses. This is the London based band not to be confused with an Irish hardcore band of the same name and they truly are a tour de force. The most noticeable aspect is the use of two microphones by the vocalist, James Cox, both with different effects on them and each are used fully throughout the set but they also provide an aid to the singer’s ferocious movements. They have a new single out called Pray which begins with the rhythm being played out on the crash cymbals as the guitar plays a riff that has distinct groove that is reminiscent of the early 90’s Indie guitar scene but blurred with the heaviness.
The next track is Silent Forest which is slower in pace than Pray but with a punishing bass line that adds to the intensity of the song. At times, James has an essence of Ian Curtis both vocally and in stature and movement, and as Hang Me High begins you appreciate the lyrical similarities too, “hold me under the water and let me die”. In an uncontrived manner, he exits the stage to sing within the receptive crowd, many of which we head nodding along with the contagious groove that prevails through heaviness, not dissimilar to The Black Angels. The energy being exuded from the band is vast and you cannot question their commitment and raw passion for their art. The set draws to a close with Crawling, leaving me very glad that I managed to see Crows as they are everything I want from a band, power with melodic distortion and at times a psychedelic tendency. Definitely, a band that I will be seeking out.
The changeover between bands is swift as Metz appear to do a quick line check before unleashing their powerful noise upon the audience, announcing “this is our shit”, and shit it is not. Having seen Metz a couple of times, it surprised me that I was still hit by the intense wall of sound that this Toronto trio create. The vigour and energy they put into their live performance is ludicrous, the short, sharp shock of Headache sets the tone for the set. Metz hark back to the 90’s alternative rock scene with the chaotic distortion of early Nirvana or Jesus Lizard and raucous vocals that sound like Alex Edkins is singing for his life.
The speed of Dirty Shirt demonstrates Hayden Menzies’ drumming talent to the full as he hits the drums with such power, you can see him put his whole body into the experience as he rarely has his head up for more than a second. Considering the frenetic nature of their music it could easily descend into chaos, however, Metz are very precise as a number of the tracks end abruptly. Prior to the start of Eraser, Alex makes his dislike for Halloween known which is a popular comment reading the response of the audience. And it is during Eraser that the room begins to fill up more, clearly a number of people not being aware of the early end to the show and unfortunately have missed out on a number of blistering tracks. The driving riff of The Swimmer breaks temporarily allowing soaring guitar sounds to envelop the venue before the song returns to its initial tempo.
It is the longer tracks of the set that interest me the most, as the sound becomes fuller and heavier, allowing for extended instrumental sections that develop the songs as you have time to fall into the rhythm. This is exemplified with the final track of the night, Wet Blanket, where Edkins uses his voice as an instrument during the developed break resulting in a tremendous assault on the auditory system. There is no option of an encore despite the enthusiastic response of the audience and as quickly as they came onstage, Metz are dismantling the kit and loading out leaving ears ringing thanks to a brutally awesome set.
Review: Toni Woodward
Photographs: Ian Dunn