siLLy puPPy
The Sacramento, CA based GIANT SQUID first caught the world’s attention with its debut “Metridium Field” in 2004 due to the fact it was produced by Billy Anderson of Neurosis, Melvins, Mr Bungle and High On Fire fame. This caught the attention of The End Records not only due to Anderson’s involvement but because of the band’s unique mix of sludgy doom metal, progressive rock, indie rock and psychedelia. The band was founded as far back as 2002 by Aaron John Gregory (guitar, lead vocals), Bryan Beeson (bass guitar), Bill Hughes (guitar), and Aurielle Zeitler (keyboards, vocals) after several members had played under the moniker Koi and Namor.
While “Metridium Field” was self-released, in order to get a record deal with The End Records, it was required to re-record that album and after that process was all said and done, the band released its label debut as METRIDIUM FIELDS two years later in 2006. The album hit a strong note in both the metal and prog communities as well as sparking interest from more adventurous indie rockers. With a playing time of almost an hour that includes eight tracks, METRIDIUM FIELDS hosted an impressive cast of musicians that included a few guests that played several interesting instruments as the panpipes, shenai, ocarina, Hammond organ and trumpet which gave the album a very interesting and unique sound indeed. Also unique to the band’s sound was the inclusion of theremin, banjo and a variety of percussion.
While included in metal databases due to the ample amount of sludgy doom metal present, METRIDIUM FIELDS favors the prog end of the spectrum with lengthy sprawling epic sounding compositions that borrow a thing or two from the processional style of post-rock and then fortify the callithump of creativity with the aforementioned tones and timbres of the instruments at hand. Some of the tracks don’t even sound like it’s the same band especially when Aurielle Gregory is performing vocal duties such as on the near 10 minute “Versus The Siren” which focuses on an atmospheric ethereal surrealism over the otherwise groovy rock riffing sessions that make up the lion’s share of METRIDIUM FIELDS.
Aaron Gregory provides most of the male vocals and sounds like he’s indecisive in his direction. While Neurosis is a clear influence in his shouty declarations and vocal angst, at times he sounds like he wants to be a punk rocker and other times a quirky indie rock star but often comes across as someone who listened to a lot of retro prog especially the moments when the 70s organ attacks swell like inflammation of an arthritic princess with gout. Add the sound effects and vocal samples and it’s clear rather quickly that GIANT SQUID strived to add as many disparate sounds, styles and emotive conveyances as possible without sacrificing the underlying post-rock cyclic rhythmic cycles that generate an hour’s worth of playing time.
For all METRIDIUM FIELDS has going for it, i still fail to connect with this album on many levels as it seems that the overarching vision has been sacrificed in order to stuff in as many variations of sound, style and instrumentation as possible without going totally Mr Bungle on us. In other words, the ideas on this album just don’t hang together as successfully as they should. The little experimental bout with weirdness in the form of “Eating Machine” that provides an intermission of sort just sounds completely out of place and while any given track sounds decent in its own right doesn’t seem to fit in with a larger concept. Usually this doesn’t bother me but when an underlying post-rock sentiment is expressed it seems like it’s less forgiving when experimentation doesn’t connect somehow. Overall METRIDIUM FIELDS is a decent label debut by GIANT SQUID but this is the kind of album i can appreciate but am more annoyed but how i think it should have been rather than accept it on its own terms. Oh well, they can’t all be zingers for all of us and this one falls short of supreme zingatude.