That Was The Show That Was: Metz, The Men, Desert Sharks | The Sinclair, Cambridge, MA | 25 July

Last time a Metz show in Boston actually went off, the room erupted into one big, drunken mosh pit, one that threatened the structural integrity of the fabled Middle East Rock Club. But for Thursday's free, shoe company-sponsored gig at a relatively new Harvard Square venue, one might have wondered just how nuts was the crowd really gonna get? The answer, it turns out, is very, very nuts.

After a solid warm-up set from New York punks Desert Sharks, the crowd anxiously anticipated what was to come from The Men. The question was, which version of the Brooklyn-based five-piece would show up? Would the set favor the Tom Petty-worship of 2013's exceptional New Moon LP, or the scuzzed punk with which The Men first made a name for themselves? In the end, fans got a little bit of both. The act opened just after 10 with what felt like a good five minutes of pulsating feedback, before bassist Ben Greenberg commenced a vicious two-note riff. The band then tore into what sounded an awful lot like "Oscillation" from 2012's Open Your Heart. It's hard to be certain, as the room sound for the set at times seemed unable to contain the band's sonic assault. The vocals and drums, in particular, struggled for recognition from underneath the throbbing might of the guitars. Even so, what could be heard sounded fantastic. In a move seemingly influenced by the characteristic intensity of the headliners, The Men emphasized the thrashier end of its considerably malleable sound, gradually layering in more and more noise before sloppily coming to a close. The highlight of its set, however, was a grooved-out take on a standout track from New Moon, "I Saw Her Face."

While The Men were received warmly, it was clear the youth were getting restless as Metz's sound check wore on. The kids wanted to mosh, hard -- and eventually they did. The last time the Torontonian trio came to Boston, the show was canceled due to, in their words, "some asshole who tried to blow up the marathon." It seemed Metz played Thursday night as if they had something to prove to make up for the missed show; the crowd was ready to meet the band's determination. The first drumroll of "Dirty Shirt" incited a massive circle pit, one that didn't dissipate until Metz burned through an extended, droning rendition of album closer "Negative Space" (bonus points go to the dude moshing with the Metz 12" tucked under his arm). What Metz lack in variation song-to-song, they more than make up for in visceral energy and shuddering intensity. Fronter Alex Edkins stared into the crowd and literally screamed the sweat off his face more times than this writer could keep track of. The night's greatest moment occurred when the band asked for the crowd to "take care of each other" before "Get Off," a tune that rocketed the crowd into an especially ecstatic frenzy. By the time Metz slumped back on stage for a quick encore, everyone in the room was too fried to even react; the Canadians had effectively squeezed all the energy out of the room. Stream the single version of "Negative Space" via the Bandcamp embed below. Metz embark on an eight-date European tour next week, return to the States for four festival dates in late summer, and then head back to Europe for a significantly longer campaign that begins on Halloween in Reykjavik, although there is no Halloween in Iceland. And that's one to grow on... -- Dillon Riley



Metz: Bandcamp | Internerds | Tumblr | Twitter

The Men: Internerds

Today's Hotness: Purling Hiss, Lady Lamb The Beekeeper, Guillermo Sexo

>> It's no secret that Clicky Clicky (whose executive editor called 13th and Ellsworth home for a while back in the day) has a strong affinity for Philadelphia and its excellent, albeit often sadly uncelebrated, indie rock. In the midst of yet another strong wave of municipal all-stars -- led, in the nation's consciousness anyway, by Kurt Vile -- we were happy to hear a cracking new one from Philly indie trio Purling Hiss titled "Mercury Retrograde." Longtime fans know the act through its '70s-echoing, un-fi hard rock, including the brilliant "The Hoodoo," the subject of this blissfully basic video. The clip's determined VHS lens flare, stoic potted plants, heroic solos and trippy effects perhaps cast Purling Hiss as a sorta public access-caliber stoner rock band. And this is what really what makes "Mercury Retrograde" so surprising, as it presents a cleaned-up sound that channels different aural touchstones. Here the band focuses on thick guitar tones and traditional rock composition (peppered with just enough indie rock grit), which suggests the work of artful everymen like, well, contemporaries The Men or even The (legendary) Replacements. Brief, sporadic solos call to mind Stephen Malkmus’ single-note solo strangulations, and paired with Hiss fronter Mike Pollize's unaffected vocals "Mercury Retrograde" makes a strong play for an immediate connection with listeners. Purling Hiss' Water On Mars, the band's fourth album in five years, will be released by Drag City March 19 on LP, cassette and CD; pre-order the collection right here. The threesome launch a circuitous tour April 4, and makes a stop in Boston at Great Scott April 9 -- an evening that will surely become a hot ticket as the date approaches, so plan wisely. Peruse the complete tour dates right here, and stream "Mercury Retrograde" via the Soundcloud embed below. Oh, there's a video for the tune to over here. -- Edward Charlton



>> Certainly mistakes were made, as this reviewer was far too focused on noise-rock, distortion and male angst to appreciate many of the worthy and talented female artists of the '90s and early 2000s. This is a thought that came to mind again and again while marveling at newly released music from the Brunswick, ME-spawned but now Brooklyn-based Lady Lamb The Beekeeper. The nom de intense folk rock of Aly Spaltro, Lady Lamb The Beekeeper's spine-tingling full-length Ripely Pine was issued via Ba Da Bing Records Feb. 19. It's one of the strongest debuts of the year, one whose barely contained emotions and electrifying instrumention recall, among other things, Hop Along's excellent 2012 set Get Disowned. During songs such as "Rooftop" and "Bird Balloons," Ms. Spaltro melds vehement, vivid vocals and wide-ranging melodies to scarred, mathy guitar work that limns her sprawling song suites. In doing so, she smartly bridges confessional singer-songwriter schemes and the buzzing history of alternative guitar music. All of which makes Ripely Pine a perpetually thrilling collection. "Rooftop" perhaps best serves as an introduction, as its time signature changes, jazzy piano flourishes, arcing violins and chaotic guitar solos expertly frame Spaltro's rich voice and the song's breezy chorus. With every element so well-realized and produced, Lady Lamb The Beekeeper's songs almost become hard to believe, as if they hit upon an idea that was there all along but which nobody else could see. For such impressive imagination, it can only be hoped that Lady Lamb The Birdkeeper is roundly recognized for this collection. Lady Lamb The Beekeeper commences an 11-date headlining tour at Brighton Music Hall in Boston May 9; the complete dates of said tour are listed right here. Order Ripely Pine from Ba Da Bing on double LP or CD here. -- Edward Charlton





>> We were very excited to see earlier this week that two of Clicky Clicky's favorite Boston musical enterprises have combined forces. Midriff Records announced Thursday that it will release later this year Dark Spring, the forthcoming fifth full-length from psych-pop veterans Guillermo Sexo. Clicky Clicky readers will recall we dropped some knowledge about the long player in January in our review of the precedent EP Bring Down Your Arms. No release date for Dark Spring has been given, but we will certainly let you know when we know, because knowing is half the battle. For now, treat yourself to another spin through Bring Down Your Arms, which is embedded below.