Chords for METZ- Self-Titled ALBUM REVIEW
Tempo:
74.375 bpm
Chords used:
C
F
Eb
D
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[N] Hi everyone, Anthony Fantano here, internet's busiest music nerd, and it's time for a review
of the self-titled album debut from Metz.
These guys are a Canadian noise rock outfit.
This is their album on Sub Pop Records, and like the title of the opening track on this
thing suggests, this thing is a headache, a skull splitting headache.
And I mean that in the nicest, most complimentary way possible.
The guitars on this LP are just pummeling, massive, dissonant.
On tracks here, they definitely approach [Eb] the chaos of bands like Drive Like Jehu, but also
kind of feature the manic, kind of nasally high-pitched vocals, screams rather, of Guy
Picotto, of Rites of Spring, or Fugazi.
There are moments that also remind me of [F] maybe that Last [D] Daughter's record as well.
For positives, the sound on this LP is fantastic.
I mean [C] just tons of saturation, just
The riffs get [N] pretty chaotic sometimes with noise hanging in the background.
It can be pretty ear canal crumbling, something I definitely think a Police to Bury Strangers
fans can appreciate.
And these guys really play with a lot of ferocity, and I like that they're able to kind of balance
that with pulling some detail into these songs too.
Some interesting progressions to a song, segues, build-ups, and breaks.
Maybe a catchy hook or a potent mood as well.
The song Sad Pricks has this blaring riff, and the riff just has this sharp dissonance
to it that makes me think like, man, this track is angrily depressed.
And with the way the vocals feel as they're being shouted over these riffs in desperation,
it just kind of confirms that feeling.
The track Wet Blanket has some great riffs too that sound unlike riffs from the rest
of the album.
And there's this interesting kind of build-up on the track where you hear all these noisy
guitar riffs and just kind of things of feedback and just kind of inconceivable noises kind
of hanging around this bass riff that is going on with these floor tom rolls coming off the drums.
It's kind of like listening to an apocalyptic surf rock band.
And one of the last tracks on here, Negative Space, has these sharp shots of over some
pummeling distorted bass guitar.
And this track features one of the few hooks on this album with harmonized vocals, and
it brings a really strong element of catchiness to the track.
There are [Ab] some great tracks on here and some really good tracks on here if I kind of separate
them out and just kind of look at them as their own [A] thing.
But as an album, I just feel like Mets is not as enjoyable.
Mostly because of a lack of dynamics, highs and lows, ideas.
For one, a lot of the riffs on this LP work off very similar grooves and feature very
similar intervals here too, especially the minor third interval, which Calicciesto will
play for you right now.
[Cm]
You've heard it before, especially in a lot of heavy, loud rock [N] songs.
But on here, I mean, man, these guys love their minor thirds.
I feel like these guys could use a bit of a kick in the songwriting department as well.
There are plenty of tracks on here like Rats and Knife and Water and Get Off that don't
really deviate all too far from the main thematic riff that kind of kicks the song off.
And it just feels like the song is entirely about the riff, and that's pretty much it.
Not really many notable additions around it in terms of noise or sound or a hook.
Not even really especially interesting or catchy lyrics or a vocal for that matter,
because on every track here, the vocals are pretty buried underneath these guitar riffs
and further obscured with lots and lots of reverb, which is a bit disheartening because
that really could have been a chance to add more character to these tracks.
But instead, they're kind of taking it away through mixing and production.
But I can kind of understand why, because when I do catch a whiff of the lyrics on these
tracks, they're not really saying anything all that distinct or interesting.
I'm sure if the lyrics were there, these guys would feel compelled to kind of pump the vocals
up so that people would hear them.
Still, there is that group of songs on here that I do think are really good.
The production is fantastic.
I mean, really great stuff.
I wish there was a bit more detail to it, but it is very overbearing for the most part.
And these guys do have the energy, you know.
Again, that viscera, that
Which I'm sure a lot of people are pretty much just looking strictly for that when it
comes to music that's rooted in a punk tradition or music that just has more of a Noise Rock
vibe to it.
For me, because it lacked those other things, it just didn't really have all that much memorability
to me, even though as I was listening to it, yeah, it was likable.
It was enjoyable.
I'm feeling a light to decent 6 on this LP.
what did you think of it if you've given it a listen?
Did you love it?
Did you hate
it?
Why?
And what should I review next?
Let me know.
Anthony Fantano, [B] Mets, [C] Forever.
[Am] [F]
[G] [C] [N]
of the self-titled album debut from Metz.
These guys are a Canadian noise rock outfit.
This is their album on Sub Pop Records, and like the title of the opening track on this
thing suggests, this thing is a headache, a skull splitting headache.
And I mean that in the nicest, most complimentary way possible.
The guitars on this LP are just pummeling, massive, dissonant.
On tracks here, they definitely approach [Eb] the chaos of bands like Drive Like Jehu, but also
kind of feature the manic, kind of nasally high-pitched vocals, screams rather, of Guy
Picotto, of Rites of Spring, or Fugazi.
There are moments that also remind me of [F] maybe that Last [D] Daughter's record as well.
For positives, the sound on this LP is fantastic.
I mean [C] just tons of saturation, just
The riffs get [N] pretty chaotic sometimes with noise hanging in the background.
It can be pretty ear canal crumbling, something I definitely think a Police to Bury Strangers
fans can appreciate.
And these guys really play with a lot of ferocity, and I like that they're able to kind of balance
that with pulling some detail into these songs too.
Some interesting progressions to a song, segues, build-ups, and breaks.
Maybe a catchy hook or a potent mood as well.
The song Sad Pricks has this blaring riff, and the riff just has this sharp dissonance
to it that makes me think like, man, this track is angrily depressed.
And with the way the vocals feel as they're being shouted over these riffs in desperation,
it just kind of confirms that feeling.
The track Wet Blanket has some great riffs too that sound unlike riffs from the rest
of the album.
And there's this interesting kind of build-up on the track where you hear all these noisy
guitar riffs and just kind of things of feedback and just kind of inconceivable noises kind
of hanging around this bass riff that is going on with these floor tom rolls coming off the drums.
It's kind of like listening to an apocalyptic surf rock band.
And one of the last tracks on here, Negative Space, has these sharp shots of over some
pummeling distorted bass guitar.
And this track features one of the few hooks on this album with harmonized vocals, and
it brings a really strong element of catchiness to the track.
There are [Ab] some great tracks on here and some really good tracks on here if I kind of separate
them out and just kind of look at them as their own [A] thing.
But as an album, I just feel like Mets is not as enjoyable.
Mostly because of a lack of dynamics, highs and lows, ideas.
For one, a lot of the riffs on this LP work off very similar grooves and feature very
similar intervals here too, especially the minor third interval, which Calicciesto will
play for you right now.
[Cm]
You've heard it before, especially in a lot of heavy, loud rock [N] songs.
But on here, I mean, man, these guys love their minor thirds.
I feel like these guys could use a bit of a kick in the songwriting department as well.
There are plenty of tracks on here like Rats and Knife and Water and Get Off that don't
really deviate all too far from the main thematic riff that kind of kicks the song off.
And it just feels like the song is entirely about the riff, and that's pretty much it.
Not really many notable additions around it in terms of noise or sound or a hook.
Not even really especially interesting or catchy lyrics or a vocal for that matter,
because on every track here, the vocals are pretty buried underneath these guitar riffs
and further obscured with lots and lots of reverb, which is a bit disheartening because
that really could have been a chance to add more character to these tracks.
But instead, they're kind of taking it away through mixing and production.
But I can kind of understand why, because when I do catch a whiff of the lyrics on these
tracks, they're not really saying anything all that distinct or interesting.
I'm sure if the lyrics were there, these guys would feel compelled to kind of pump the vocals
up so that people would hear them.
Still, there is that group of songs on here that I do think are really good.
The production is fantastic.
I mean, really great stuff.
I wish there was a bit more detail to it, but it is very overbearing for the most part.
And these guys do have the energy, you know.
Again, that viscera, that
Which I'm sure a lot of people are pretty much just looking strictly for that when it
comes to music that's rooted in a punk tradition or music that just has more of a Noise Rock
vibe to it.
For me, because it lacked those other things, it just didn't really have all that much memorability
to me, even though as I was listening to it, yeah, it was likable.
It was enjoyable.
I'm feeling a light to decent 6 on this LP.
what did you think of it if you've given it a listen?
Did you love it?
Did you hate
it?
Why?
And what should I review next?
Let me know.
Anthony Fantano, [B] Mets, [C] Forever.
[Am] [F]
[G] [C] [N]
Key:
C
F
Eb
D
Ab
C
F
Eb
_ _ _ _ [N] Hi everyone, Anthony Fantano here, internet's busiest _ music nerd, and it's time for a review
of the self-titled album debut from Metz.
These guys are a Canadian noise rock outfit.
This is their album on Sub Pop Records, and like the title of the opening track on this
thing suggests, this thing is a headache, a skull splitting headache.
And I mean that in the nicest, most complimentary way possible.
The guitars on this LP are just pummeling, massive, dissonant.
On tracks here, they definitely approach [Eb] the chaos of bands like Drive Like Jehu, but also
kind of feature the manic, kind of nasally high-pitched vocals, screams rather, of Guy
Picotto, of Rites of Spring, or Fugazi.
There are moments that also remind me of [F] maybe that Last [D] Daughter's record as well.
For positives, the sound on this LP is fantastic.
I mean [C] just tons of saturation, just_
The riffs get [N] pretty chaotic sometimes with noise hanging in the background.
It can be pretty ear canal crumbling, something I definitely think a Police to Bury Strangers
fans can appreciate.
And these guys really play with a lot of ferocity, and I like that they're able to kind of balance
that with pulling some detail into these songs too.
Some interesting progressions to a song, segues, build-ups, and breaks.
Maybe a catchy hook or a potent mood as well.
The song Sad Pricks has this blaring riff, and the riff just has this sharp dissonance
to it that makes me think like, man, this track is angrily depressed.
And with the way the vocals feel as they're being shouted over these riffs in desperation,
it just kind of confirms that feeling.
The track Wet Blanket has some great riffs too that sound unlike riffs from the rest
of the album.
And there's this interesting kind of build-up on the track where you hear all these noisy
guitar riffs and just kind of things of feedback and just kind of inconceivable noises kind
of hanging around this bass riff that is going on with these floor tom rolls coming off the drums.
It's kind of like listening to an apocalyptic surf rock band.
And one of the last tracks on here, Negative Space, has these sharp shots of over some
pummeling distorted bass guitar.
And this track features one of the few hooks on this album with harmonized vocals, and
it brings a really strong element of catchiness to the track.
There are [Ab] some great tracks on here and some really good tracks on here if I kind of separate
them out and just kind of look at them as their own [A] thing.
But as an album, I just feel like Mets is not as enjoyable.
Mostly because of a lack of dynamics, highs and lows, ideas.
For one, a lot of the riffs on this LP work off very similar grooves and feature very
similar intervals here too, especially the minor third interval, which Calicciesto will
play for you right now.
[Cm] _ _ _
_ You've heard it before, especially in a lot of heavy, loud rock [N] songs.
But on here, I mean, man, these guys love their minor thirds.
I feel like these guys could use a bit of a kick in the songwriting department as well.
There are plenty of tracks on here like Rats and Knife and Water and Get Off that don't
really deviate all too far from the main thematic riff that kind of kicks the song off.
And it just feels like the song is entirely about the riff, and that's pretty much it.
Not really many notable additions around it in terms of noise or sound or a hook.
Not even really especially interesting or catchy lyrics or a vocal for that matter,
because on every track here, the vocals are pretty buried underneath these guitar riffs
and further obscured with lots and lots of reverb, which is a bit disheartening because
that really could have been a chance to add more character to these tracks.
But instead, they're kind of taking it away through mixing and production.
But I can kind of understand why, because when I do catch a whiff of the lyrics on these
tracks, they're not really saying anything all that distinct or interesting.
I'm sure if the lyrics were there, these guys would feel compelled to kind of pump the vocals
up so that people would hear them.
Still, there is that group of songs on here that I do think are really good.
The production is fantastic.
I mean, really great stuff.
I wish there was a bit more detail to it, but it is very overbearing for the most part.
And these guys do have the energy, you know.
Again, that viscera, that_
Which I'm sure a lot of people are pretty much just looking strictly for that when it
comes to music that's rooted in a punk tradition or music that just has more of a Noise Rock
vibe to it.
For me, because it lacked those other things, it just didn't really have all that much memorability
to me, even though as I was listening to it, yeah, it was likable.
It was enjoyable.
I'm feeling a light to decent 6 on this LP.
what did you think of it if you've given it a listen?
Did you love it?
Did you hate
it?
Why?
And what should I review next?
Let me know.
Anthony Fantano, [B] Mets, [C] Forever. _
[Am] _ _ _ [F] _ _ _
[G] _ _ _ [C] _ _ [N] _
of the self-titled album debut from Metz.
These guys are a Canadian noise rock outfit.
This is their album on Sub Pop Records, and like the title of the opening track on this
thing suggests, this thing is a headache, a skull splitting headache.
And I mean that in the nicest, most complimentary way possible.
The guitars on this LP are just pummeling, massive, dissonant.
On tracks here, they definitely approach [Eb] the chaos of bands like Drive Like Jehu, but also
kind of feature the manic, kind of nasally high-pitched vocals, screams rather, of Guy
Picotto, of Rites of Spring, or Fugazi.
There are moments that also remind me of [F] maybe that Last [D] Daughter's record as well.
For positives, the sound on this LP is fantastic.
I mean [C] just tons of saturation, just_
The riffs get [N] pretty chaotic sometimes with noise hanging in the background.
It can be pretty ear canal crumbling, something I definitely think a Police to Bury Strangers
fans can appreciate.
And these guys really play with a lot of ferocity, and I like that they're able to kind of balance
that with pulling some detail into these songs too.
Some interesting progressions to a song, segues, build-ups, and breaks.
Maybe a catchy hook or a potent mood as well.
The song Sad Pricks has this blaring riff, and the riff just has this sharp dissonance
to it that makes me think like, man, this track is angrily depressed.
And with the way the vocals feel as they're being shouted over these riffs in desperation,
it just kind of confirms that feeling.
The track Wet Blanket has some great riffs too that sound unlike riffs from the rest
of the album.
And there's this interesting kind of build-up on the track where you hear all these noisy
guitar riffs and just kind of things of feedback and just kind of inconceivable noises kind
of hanging around this bass riff that is going on with these floor tom rolls coming off the drums.
It's kind of like listening to an apocalyptic surf rock band.
And one of the last tracks on here, Negative Space, has these sharp shots of over some
pummeling distorted bass guitar.
And this track features one of the few hooks on this album with harmonized vocals, and
it brings a really strong element of catchiness to the track.
There are [Ab] some great tracks on here and some really good tracks on here if I kind of separate
them out and just kind of look at them as their own [A] thing.
But as an album, I just feel like Mets is not as enjoyable.
Mostly because of a lack of dynamics, highs and lows, ideas.
For one, a lot of the riffs on this LP work off very similar grooves and feature very
similar intervals here too, especially the minor third interval, which Calicciesto will
play for you right now.
[Cm] _ _ _
_ You've heard it before, especially in a lot of heavy, loud rock [N] songs.
But on here, I mean, man, these guys love their minor thirds.
I feel like these guys could use a bit of a kick in the songwriting department as well.
There are plenty of tracks on here like Rats and Knife and Water and Get Off that don't
really deviate all too far from the main thematic riff that kind of kicks the song off.
And it just feels like the song is entirely about the riff, and that's pretty much it.
Not really many notable additions around it in terms of noise or sound or a hook.
Not even really especially interesting or catchy lyrics or a vocal for that matter,
because on every track here, the vocals are pretty buried underneath these guitar riffs
and further obscured with lots and lots of reverb, which is a bit disheartening because
that really could have been a chance to add more character to these tracks.
But instead, they're kind of taking it away through mixing and production.
But I can kind of understand why, because when I do catch a whiff of the lyrics on these
tracks, they're not really saying anything all that distinct or interesting.
I'm sure if the lyrics were there, these guys would feel compelled to kind of pump the vocals
up so that people would hear them.
Still, there is that group of songs on here that I do think are really good.
The production is fantastic.
I mean, really great stuff.
I wish there was a bit more detail to it, but it is very overbearing for the most part.
And these guys do have the energy, you know.
Again, that viscera, that_
Which I'm sure a lot of people are pretty much just looking strictly for that when it
comes to music that's rooted in a punk tradition or music that just has more of a Noise Rock
vibe to it.
For me, because it lacked those other things, it just didn't really have all that much memorability
to me, even though as I was listening to it, yeah, it was likable.
It was enjoyable.
I'm feeling a light to decent 6 on this LP.
what did you think of it if you've given it a listen?
Did you love it?
Did you hate
it?
Why?
And what should I review next?
Let me know.
Anthony Fantano, [B] Mets, [C] Forever. _
[Am] _ _ _ [F] _ _ _
[G] _ _ _ [C] _ _ [N] _