Over time, we come to comprehend how the joy of connection is mirrored by the void of loss, how the constancy of love is matched only by the impermanence of life. The simple idea that we could not create light if we did not risk the dark, which means that we’d never need to. The Canadian band METZ was once known for blowing out eardrums with songs of joyous rage. However, over their past few records, they have begun exploring ways to turn abrasiveness into atmospherics. The evolution of their sound not only reflects the maturing of the band themselves but also of a changed world that demands nuance and compassion to comprehend and to survive. This transformation was already underway on their 2020 album Atlas Vending but reaches new heights on Up On Gravity Hill. The Canadian trio creates a kaleidoscopic sonic world that is tender as it is dark, aided once again by engineer Seth Manchester (Mdou Moctar, Lingua Ignota, Battles, The Body). It is deep, detailed, and unyieldingly personal. It is not only METZ’s most potent album to date but also their most beautiful.