Squid: O Monolith - Track by track review

Squid, the Brighton-born, Bristol-based quintet, have undergone a pretty remarkable transformation since their debut album 'Bright Green Field.' The insatiable curiosity and relentless pursuit of pushing boundaries found on that record seem to have truly reached their fruition on their sophomore release, 'O Monolith.' The album is a captivating journey that unveils new layers with each listen, inviting listeners to embark on this voyage of musical discovery the band has charted, and it's bloody fantastic.

Where previously the pushing of boundaries was done with an energetic frenzy, particularly on the Town Centre EP, and their early singles, the 42 minutes confines of 'O Monolith' has instead taken a breather and given way to a more refined and sophisticated sound, showcasing Squid's growth and self-assuredness.

Returning to produce is long-time collaborator Dan Carey, of Speedy Wunderground fame, but instead of recording in his signature basement studio (where the band's debut was recorded), the album was recorded in Peter Gabriel’s Real World facilities. This escape from the immediate and urgent surrounds of a London basement to a countryside estate studio, is evident on the record, with a soundscape that leaves more room for interpretation, tackling grandiose ideas, ones that are (in true Squid fashion) inherently British. 

So, we thought we'd approach 'O Monolith' track by track to delve into these differences and explore a truly brilliant record from a band that shows absolutely no signs of slowing down. Scroll down and check it out!

 

 

 

Swing (In a Dream)

The first single from the record is also the first on the tracklist, and boy do they start as they mean to continue. A track that starts off uncertain, with nervous keys and dissonant guitar, transfigures into a beautiful cacophony of assured groove with proggy guitars over motorised drums and meandering key; culminating in a heavily distorted riff to close out the track that harks back to the squid of old. Carey's textured production shines through from the get-go, and the track is a perfect introduction to the new sound Squid have captured on this record. 

 

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Devil’s Den

As the track ticks over, the distortion fades away and we are brought back down to the ground by the quintet with a ponderous and melancholic riff, that sparkles over increasingly layered instrumentation. The track is named after a local real-life monolith, as loaded instrumentally as it is with references to English paganism and folklore; continuously referencing Vinegar Tom, a 1976 feminist play by Caryl Churchill set in the Middle Ages.

Throughout, Ollie Judge is making equally ponderous yet tonally muted statements revolving around questions like "Am I a fool?" and "Do you know what you've done?." Such questions revolve around lines that are quintessentially Squid in their poignancy to British life, a favourite of which being: "Well, you're dead if you float / And you're dead if you sink." Yet, the pondering is thrown quickly out the window at the two-minute mark as the song explodes in an admirably dissonant and distorted fashion to round it out.

 

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Siphon Song

If the last track was at home in the folkloric past, then 'Siphon Song' takes those ideas and settles them sci-fi future. An otherworldly synth, echoing the energy of an X-Files episode, runs through the track, whilst a reserved and spacious guitar riff fills in the banks. During this, a robotically altered voice revels in internet-era paranoia as the percussion slowly builds in the background, ending in an ominous and blurred finale. It feels almost like a blend of old-English folklore (a persistent theme throughout the record) with modern-day fears of our future, culminating in one of the best, and most unique tracks on the record.

 

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Undergrowth

'Undergrowth', the second single released in the run-up to the record, is in our opinion, by far the best track on it, and maybe one of the best tracks the band has released to date. The vocals are snarly, the bass is crunchy, and the groove Squid made themselves a name on screaming in your face to move; particularly in the track breaks. But, the best thing about this track, is just how fun it is. The band are synonymous for layering a multitude of sounds upon each other, a theme you can probably attribute a good amount of credit to Dan Carey for, but on 'Undergrowth' this cacophonous nature is at its very peak. Not a single sound steps on the toes of another, and the collective sound is operatic in its atonality; a truly insane accomplishment. 

 

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The Blades

The third and final single released prior to release, 'The Blades' is Squid at some of their most experimentally weird and poignant, both in instrumentation and message. The track is an imaginative reaction to the climate of police brutality which inspired the Kill The Bill protests in Bristol.  The ‘blades’ of the song represent three things: the imposing and coldly-surveilling helicopters of a police force, the violence of their officers down below, and the ‘blades of grass’ they stand to cut down – the protestors themselves. They ‘bend in the wind’, overpowered but standing strong against this brutality – before it smothers them, ‘trimmed’ into silence for the song’s haunting outro of blissful ignorance.

It's by no means an easy listen, especially with prior knowledge of its inspiration, but it exemplifies the off-kilter eccentricity of a band who are inspired by the world around them, both its beauty and (as in this song) its abject cruelty. 

 

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After The Flash

After the increased tempo of the last two tracks, Squid brings things back to a lower, yet still motorik gear with 'After The Flash,' a track on which previous vocal collaboration Martha Skye Murphy (who provided vocals on Bright Green Field’s ‘Narrator’) returns. Her voice gracefully intertwines with the song's slow yet rhythmic composition, infusing it with gentle elegance. As the song progresses, a touch of the divine emerges, accompanied by unconventional elements like the saxophone. Judge's poignant lyrics, "How hard can it be to live a normal life?" resonate amidst this melodic tapestry.

 

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Green Light

The penultimate track on the record, 'Green Light' opens with an instantly recognisable plucky, off-kilter guitar riff, before unexpectedly exploding at the 25-second mark; an explosion that maintains the riffs structure but alters it sonically to be filthy and fuzzy beyond belief. As the fuzz and filth build in the track, the composition echoes Black Midi in the multitudinous and adrenaline-finding a place alongside comparably near silent breaks. It's a true testament to the band's growth and experimental ethos, and sections in this track are arguably the peak of the proggy passages found throughout the record.

 

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If You Had Seen the Bull’s Swimming Attempts You Would Have Stayed Away

Whilst definitely holding the title for the best names track on the record, 'If You Had Seen the Bull’s Swimming Attempts You Would Have Stayed Away' is a sweeping impressionistic delve into the lives of rats, and their troubled history with humanity. It's mystical, a bit weird (wouldn't be Squid if it wasn't), and gorgeously layered in its instrumentation; smooth guitar licks, smattered hauntingly hushed backing vocals, Judge's sprechgesang lyricism at its zenith, and a sax, percussion combo that maintains a driving edge; it's a track that differs from the record, potentially marking early signs of a new avenue of musical exploration; but all the while a fantastic closure to a fantastic record!

 

 

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If you want to catch all these new tracks live, then Squid are heading out on tour later this year, with tickets available for their Manchester and Birmingham dates on Skiddle, Grab your tickets below!

 

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Check out our What's On Guide to discover even more rowdy raves and sweaty gigs taking place over the coming weeks and months. For festivals, lifestyle events and more, head on over to our Things To Do page or be inspired by the event selections on our Inspire Me page.

 

 

  

 

 

 

Tickets to Squid at New Century, Manchester

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Tickets to Squid at Birmingham Town Hall, Birmingham

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