Although the body of scholarship on rhythm and meter in metal music has grown over the past decade, it is limited with regard to the types of artists and techniques covered. Writings by McCandless (2013 and 2009) address metrical processes in Dream Theater's music, while literature by Pieslak (2007) and Smialek (2008) and conference presentations by Capuzzo (2014), Lennard (2016), and Lucas (2017) engage specific types of interactions between metrical layers in Meshuggah's music. There are, however, other important artists and widely used manipulations of rhythm and meter in contemporary metal music that remain unexplored. In this paper, I examine the output of bands such as Between the Buried and Me, Zao, and Converge, whose music represents paradigmatic rhythmic and metric techniques that are characteristic of the contemporary metal repertoire. I focus on three types of techniques, which I call normalization, requantization, and displaced downbeats. Furthermore, I consider the roles these techniques play in metal culture and narratives of musical meaning. My analyses borrow from Krebs's models of metrical dissonance (1999) and Pearsall's model for durational sets (2012), as well as Almén's theory of narrative (2008).