Giant Squid was formed in California, 2002. Their style is a mix between Post-Metal, Doom, with lots of orchestral and jazzy characteristics; a unique band. I don't know much about this band's history (I've only come in contact with their wonderful music a short time ago), so I'll have to go to Wikipedia on this band's formation. The band has been through many changes in it's lineup. They have had around different 5 drummers, 5 keyboardists, 3 guitarists, and a trumpetist. All this since 2001.
Their discography I'm familiar with, though. They released the "Revolution in the Water / Ampullae of Lorenzini" EP, at that time going by the name Namor. As Giant Squid, they've since released: "Metridium Field" (2004), "Monster in the Creek EP" (2005) (these two last were released by their own label, Tyrannosaurus Records). In 2006, "Metridium Field" was rethough, re-recorded, and re-released - it's definitive version, the one I will review today. In 2007 Giant Squid recorded a split album with Grayceon 7", and this year (2009), they released their latest album, "The Ichthyologist".
The actual lineup is formed by: Aaron Goldberb (lead vocals, guitar), Jackie Gratz (cello, vocals), Chris Lyman (drums), Cory Tozer (guitar), and Bryan Beeson (bass).
In "Metridium Field" all the songs were made to fit eachother, so I'll try and follow that logic (this will probably be a very long review), but it is innevitable to talk about all the tracks, as this album is a whole piece - it could probably even be only one song, really. The opening track, "Megaptera in the Delta" sounds like you are submerged underwater and there is a giant, slow, non-too-happy monster coming toward you and passing you by. And it is , basicly, an opening track for "Neonate".
The amazing second track starts off with a very heavy guitar intro which kind of reminds me of Sleep, followed by what resembles a short sample of what the trumpet of Apocalipse must sound like. The second heavy riff comes on along with a Moog keyboard, and what I think these days is that any other band in the world would make that combination, in this case, sound cheesy, but Giant Squid made it sound completely perfect!
The lyrics, reminded me of the opening track for Van Der Graaf Generator's album "H to He Who Am the Only One" (an album I love and which I'll likely review), a track named "Killer". Here go some of the lyrics to the track "Neonate", if you know Van Der Graaf you'll know what I'm talking about:
You're free from your womb now,
But this maternity ward is a feeding ground;
Don't look back for ages,
Your mother's toothy smile can smell you for miles.
(...)
You too will eat your young,
When there's only enough for one,
In times of need this must be done
(...)
... on the second verse, Aurellie's (Aaron Goldberg's ex-wife) vocals come in following the keyboard melody, and it sounds haunting, kinda like what I imagine a Syren should sound like (I'll get to it in the next track). A part of heavyness and screamed vocals comes after. Then, when I already thought I had stumbled upon a very different sound, a banjo kicks in, then followed by wierd keyboard sound (maybe even a Theremin?, i can't identify it), and then a trumped, making the part sound like a wierd, experimental, jazz band. And then i knew i had stumbled a completely different sound from everything i ever heard before. "Neonate" was the first song I ever heard from them, and I'm still in love with it.
"Versus the Syren", an epic track, comes after. The keyboard intro, resembling a Church Organ is followed by drums which give this song a very jazzy feel all through it's duration, followed by a beautiful guitar and a different keyboard melody. Aurellie's Syren-like vocals are accompained by Aaron's voice (the later kind of sound like Neurosis' Scott Kelly's vocals). This a bold statement, but it reminds me of the "Neurosis & Jarboe" (Self-titled) album at times. There, I said it. The song goes through a fantastic heavyness-filled part, ending with a sad soaring of a trumpet, (sorry about so many "this remind me's", but...), kinda reminding me of King Crimson's trumpet playing on the album "Islands", giving way to "Ampullae of Lorenzini".
To me, this track is probably the most emotional of the album. The crescendo was definitly very well-developed. Starts off with drums, then Aaron's haunting, low-pitched vocals come in, followed by a emotionally-crushing riff. Aurellie's vocals are also featured in this track. Those who are into heavy, emotional music will love this track.
I will leave here said that the lyrical content in this album are not the most, let's say, poetical... but the lyrics are definitely good and fit the songs beautifully, without exception.
"Summit" is the fifth track. I can't say much about this track, except that it is the "softest" track in the record, though it ends a bit more heavily then the way it begun. I really like it. It starts with a weather report broadcast. As I said before, everything works toward everything in this album. And even this broadcast feels essential for the song! I had never heard anything like it, to tell you the truth. I couldn't listen, for some mystical reason, to this track again without it!... And it has the best lyrics in the album, to me, by far. Very very beautiful and very moving track.
Waiting for the sun to burn away the season,
Revealing the place we called home,
Built by our blood and our blood alone
We will find our summit again.
(...)
Soon will come the winter's end,
We will find our summit again.
It will take more than the snow,
To bury all that you have known.
"Eating Machine" is an opening track for the song "Revolution on the Water". It is similar to "Megaptera in the Delta", except it has an effect-processed human voice over the sound of the beastly sounds.
"Revolution in the Water" is the heaviest track on the record. The drums are beautiful and extremely effective, and they open the track, which is mainly driven by drums and bass. The cello is also amazing in this track, and what impressed me the most was, towards the middle of the track, Jackie Gratz also starts screaming almost like Black Metal vocals, fitting the song really well, even though I'm definitely not a fan of those kind of vocals really, creating a sort of a counterpoint with Aurellie's vocals which came before in the record. If Aurellie's vocals were those of a Syren, then Jackie's are those of an angry Harpy. But both their vocals are featured together on the second epic 21 minute song which comes next, and which finishes the album.
"Metridium Field" is that epic 21 song, which I would say is to this record as "Hearts Alive" is the closure to Mastodon's album "Leviathan" (2004) (also an epic track). It starts with a clean guitar and then builds and builds up, toward ending the album majestically. Although Aaron sings on this one, the "girl section" is the most proeminent in it, counterpointing almost-Black-Metal vocals with Aurellie's clean vocals. Anyway, the vocals are only a short part, only used in the middle of the song of this epic track, which you will have to invest yourself into to feel the intensity of it.
When you have some free time on your hands, listen to this album. It's perfect. How rare it is for you to finish listening an album and feel like there was not a single thing missing in it?... Well, this is The One.
My rating of this album - 5.0 / 5.0
Some of their songs:
"Neonate" (in the Album "Metridium Fields"):
"Versus the Syren" - (in the album "Metridium Field"):
"Neonate" (Live, opening for Isis, 2006):
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