The strength and severity of their instrumental attack has been METZ's most impressive quality since they issued their debut album in 2012. By the time they brought out 2017's Strange Peace, it seemed all but impossible that the trio of Alex Edkins (guitar and vocals), Chris Slorach (bass), and Hayden Menzies (drums) could get any tighter, or play with greater physical impact. In the truest sense, that notion is confirmed on their fourth full-length effort, 2020's Atlas Vending; having achieved a nearly miraculous level of technical skill, METZ have opted to refine their songwriting and arrangements rather than fuss about their chops, which are still on a par with most veteran prog rock bands, though applied in a very different way. Saying Atlas Vending is their most tuneful album to date would be misleading, since the music still connects like an unexpected roundhouse punch. However, there is more finesse on this album than anything METZ have delivered to date. The soaring chorus and vocal harmonies on "Blind Youth Industrial Park," the punchy melody and shockingly optimistic lyrics of "No Ceiling," the slow build of "Framed by the Comet's Tail," and the extended minimalist exploration of "A Boat to Drown In" are the work of a band who built their foundation on noise but have learned how many fine details they can bring to their music without draining its power. Without seeming wordy or pretentious, Atlas Vending is music created with a striking degree of intelligence. Even as the ferocious aural assault takes hardcore and pushes its physicality far forward, METZ play their instruments like sharpshooters who can hit a target with unerring precision rather than seeming sloppy in their brutality. Produced and recorded with a skill that's all the more effective for its unwillingness to intrude on the band, Atlas Vending is a dazzling display of form and content that shows listeners how math rock can be effectively weaponized.