U.K. combo
Squid have an elasticity that allows them to leap outward in multiple directions while always snapping back to their core sound. Their debut,
Bright Green Field, was their most kinetic, while its follow-up,
O Monolith, funneled the band's energy into more exploratory and progressive avenues. On
Cowards, they introduce a unified theme that they've juxtaposed against some of their brightest and most melodic tracks to date. Generally speaking,
Cowards is an album about evil. Under that black umbrella,
Squid examine murder, narcissism, weakness, ego, and general wrongdoing. These subjects dovetail quite nicely into the group's already anxious post-punk style, though, interestingly, the album feels more exciting than grim. Over a decor of shimmering arpeggios and harpsichord, singer/drummer
Ollie Judge applies cold, demented glee to "Crispy Skin," a song about cannibalism. "Building 650" is another standout with a gorgeous string arrangement that explores a protagonist too weak to disavow a friend who is clearly evil. The psych-Krautrock epic "Cro-Magnon Man" spans millennia of darkness, past the age of humanity. There are references to the Manson murders and other bleak tales of tragedy, alienation, and cowardice, where characters are seemingly unable to oppose darker forces. However, where their lyrics fail to uplift,
Squid are, as ever, a uniquely propulsive unit who seem to recycle their own energy and maintain that patent elasticity throughout. The arrangements here are surprisingly ornate, bordering on chamber pop. There is a heavier reliance on acoustic instrumentation, strings, brass, and odd percussion as well as guest vocalists like
Rosa Brook,
Clarissa Connelly, and
Tony Njoku. Aiding and abetting the band are producers
Marta Salogni and
Grace Banks and mixing engineer
John McEntire.
Squid are still in the early part of their career, but with each record, they've shown a remarkable adaptability and willingness to change, without losing what makes them special. ~ Timothy Monger
