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.

After a sound editor heard her demos on KCRW almost 10 years ago, he kept tabs on her, which led her to be handpicked by contemporary classical composer / film scorer Clint Mansell and Chan-wook Park (director of Korean cult classic Oldboy) to write the closing theme “Becomes The Color” to the new Hollywood film Stoker: 

http://www.youtube.com/watch?v=LMN8uJNboSY

The New York Times described Cheyenne’s 2010 debut, Before Lately, as “sweet without being cloying, weary without hopelessness,” noting the vast space between notes, yet lack of air. Before Lately was a slow-burning, introspective, meditative affair.

According to ListenBeforeYouBuy.net, her follow-up EP We Don’t Need (Yep Roc 2012) “explores a range of new styles in just six short tracks and nails almost all of them. No need to beat around the bush with this one: this EP is almightily good.” Lending a cohesion to this sonic kaleidoscope is a voice that Daytrotter described as “a tone that allows you to stretch your head back to that last great and true love that you experienced – the best form of it that ever came your way – and feel as if it never left.”

Setting us up to expect the unexpected, Cheyenne will release her next full-length record Among the Grey with Yep Roc in late spring/early summer of 2013. With a harder edge at times and a heart-breaking ballad just when you need it, this record is sure to gain a broader audience and more die-hard fans for her ever-changing artistic abilities. Among the Grey was co-produced by Cheyenne and Kevin Ratterman (sound engineer for My Morning Jacket’s Circuital) and once again showcases her multi-instrumental and arranging skills.

NPR chose Cheyenne as one of their ten “Discoveries at SXSW 2011.” With a record like Among the Grey waiting in the wings and a dynamic live show to please her fans old and new, you can be sure that she won’t go unnoticed this year…