:: The Starlite Room Presents ::
Metz w/Dead Fibres and Slates
Dead Fibres, Slates
10030 102 Street Northwest
Edmonton, AB, T5J 0V6
Doors 8:00 PM
This event is 18 and over
Watch & Listen
There was a time, in recent history, when you needed to have at least twelve members to even be considered a band in Canada. It was nearly impossible to tour if you didn't have access to some kind of personnel carrier, and making a record involved several years of tambourine overdubs. You know there were kids out there who just wanted to get in a van and play loud as hell through an Ampeg stack or a four-piece drum kit, but how could you call it a band if you didn't even know a French horn player? By 2008, band membership had reached a critical mass. You'd go to a show and you might be the only person in the room who wasn't playing an instrument. Hard times.
Thankfully, there are always a few naturally resourceful people who refuse to be intimidated or excluded from making their own wild racket in public. Alex Edkins, Hayden Menzies and Chris Slorach have been around long enough to know that if you can't fit it in the van, it's not worth bringing. METZ play like one brutally heavy instrument with three heads, slashing heavy-gauge strings, bending guitar and bass necks in weird unison, along with what is probably the loudest drumming you've ever heard. It's a return to everything that's good about loud, ecstatic live music; a frantic nod to Nation of Ulysses, Shellac, The Pixies, The Jesus Lizard, and Public Image Ltd. at their most vicious, while still carving out some heavy new business. They play the instruments, the amps, and the room.
Over the last three-and-a-half years, METZ have slayed in basements, skate shops, clubs, and festivals, sharing stages with Mission of Burma, Death from Above 1979, Archers of Loaf, Mudhoney, Oneida, Constantines, and NoMeansNo. I've seen a hundred jaws drop within the first four measures of their set. I once saw Alexander Hacke from Einstuerzende Neubauten approach Chris and rave about his bass tone.
It's a formidable task to try and capture such a powerful live band on record. Luckily, Graham Walsh (Holy Fuck) and Alexandre Bonenfant were more than up for it. Isolating the band in an old barn for a week with a portable recording rig, Walsh and Bonenfant were not only successful in documenting the unrelenting live force of the band, but they also managed to add some new and staggering sonic textures to the recording. Waves of organic feedback and fuzzed-out drones build the classic tension that eventually drops into each track's relentless, dissonant pulse. And somehow, the raddest thing about it all is the songwriting. It's not just riffs. It's something that some heavy bands don't get, but METZ do really well—and they do it collectively. It's a hell of an experience, listening to this thing.
With this, their debut album, METZ articulate with deafening clarity, what we've all known for some time: The world of good music needs a new power trio, and this is it.
A megalomaniac gorges himself on a number of toxic substances and stumbles into another consecutive night of dehydrated, tooth-grinding madness. The soundtrack to his evening: Dead Fibres’ forthcoming release “Disgusting People with Disgusting Motives”. The album is a brash, self-destructive and introspective piece that is at all times loud and chaotic. With this release the band sought to create an album that was consistent not only sonically, but also thematically. “Disgusting People with Disgusting Motives” deals with the baser elements of humanity that are driven by vice and lust, those of which that can be found by making a trip over to the wrong end of town. It is a filthy and grimey exposé of these elements as well as a passé cry for help. “Disgusting People with Disgusting Motives” is not to be missed if you’re looking to revel in the nastier side of life. Just be weary of the hangover that is sure to follow.
Dead Fibres were begotten within the booze-flooded months (and years) of directionless anxiety following the conclusion of high school and out of this monotonous milieu they have managed to birth a distinctive blend of grunge, punk and psychedelia that is both aggressive and rhythmically driven. In late 2014 Dead Fibres dropped their self-titled debut, which was backed up with a Canada-wide tour in 2015. This summer will witness the second Dead Fibres’ Canadian Tour wherein the band will attack an expanded number of cities, bringing with them an updated sound and vision.
Sometimes people exist in a certain place and at a certain time for a reason. Slates is a punk band from Edmonton, Alberta; not punk like leather/tattoos/screaming/one minute songs and junk. Just punk. Edmonton is a cold, industrial city where money often dominates little things like art, the environment, and pride. Slates have to exist in Edmonton. They couldn’t exist without these surroundings, and the city needs somebody to document it and say when it’s right or wrong. The two go together perfectly.
Since 2008, Slates have been recording and touring. Their stinky van has taken them everywhere it physically can, and a less-stinky plane has brought them to places like Cuba, Bosnia and the Yukon Territory. Places that don’t often get to see touring bands. They’ve released three LPs and five 7-inches. The newest full-length called Taiga, was recorded with engineer Steve Albini (Nirvana, The Stooges, Jawbreaker, Neurosis) at Electric Audio, and released in early 2014.
-Craig Martell, Wunderbar, Edmonton
Things we’re not into: the Warped Tour, shows with gross corporate sponsors, sexism, racism, classism, speciesism and putting our name on beer koozies.
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