There are many things wrong with educational systems but for me, the lack of preparation for the "real world" remains among the most baffling. The violent clash between the cold, robotic monotony you're unwillingly trained for and romantic idealism each of us contains is very disheartening, so much that it breaks some, casting them in a loop of ambition-free wallowing and complete loss of any creativity.
I myself almost had this part of me drained during high school but luckily I prevailed and it came down to music, defiant, angry music stoking that fire I was losing. Granted, my horizons were much more limited back then but if there is a genre the younger me would've LOVED, it would without a doubt be post-punk. I've come to truly love this genre in these recent years, particularly the newer more experimental scene that's been growing in UK and Ireland and it's no secret 2021 has seen some great releases already.
This is where Squid and their highly anticipated debut Bright Green Field come in. Like Drunk Pink Tank I covered earlier this year, Bright Green Field is another wonderful example of, let's call it renaissance post-punk has been going through. More importantly, the record showcases this defiance I mentioned and much more. Unlike so many bands in the genre, our journey does not begin with a raging pace setter, rather, you hear strange panning noises and occasional indistinguishable words before you're met with vivid imagery of "G.S.K.". The towering corporate grey blocks described immediately grab your attention and the strangely laid back instrumentation cements it. The somber tone acts as foundation but the addition of brass along with tropical clangs directly contradict it and create a subtle power struggle and tension. Fascinatingly, this dynamic is often used but never in an identical way, rather the quintet toys with genres, sounds, even instruments, reiterating their approach in equally colorful fashion lending for an engaging experience.
Take "Boy Racers" for example. Surprisingly melodic affair, straightforward even with strong pop elements but things take a sharp krautrock-y turn and the lads commit for a long drone-heavy outro. It's a stark transition with an interesting usage of synths and medieval wind instrument but its randomness, while ambitious and brave, does not pay off as well as they have hoped. Minor bump aside, their adventurous spirit shines on, reminiscent of Talking Heads, especially on tracks such as "Paddling" which currently stands as my favorite off the album. The triple vocal action, mischievous guitars and fun instrumentation perfectly encapsulate not just their instrumental prowess but the record as a whole. While not immediately apparent, defiance and resistance ooze from the track. "Don't push me in." Ollie repeats and repeats with increasing conviction during the later half of the song. The tone then shifts and we enter darker waters.
"2010" sets off this change with restraint and gloominess akin to Radiohead. It even features a cool 7/4 groove which the band expands upon with droning synths and dissonant chords. What captured my attention was the distinct lack of any forms of charm or humor. This is a serious song which temporarily halts the momentum at a cost of putting you in a different mindset and the following songs "Peel St." and "Global Groove" solidify this. The latter especially with its absence of... well grooves but I find the melancholic, almost hopeless tone and slower tempo more than fitting. After all, the current state of humankind is far from optimal. Squid address the well known issue of dissociation via media so many bands covered. Luckily, their take is uniquely their own. The constant build up, that one bursts of anger and wonderful usage of brass and synths perfectly showcases this darker side of the band and what excites me a lot is how they'll expand upon that because for a debut, Bright Green Field feels very mature and in control of its influences. A crack or two appears every now and then but nothing that deters me from continuous revisits. The infectious energy, varied approaches of conveying said energy, all the themes and references, everything reeks of quality and competence.
Dan Carey's production especially so by giving each element a nice pocket to inhabit and giving some moments that extra oomph that's required.
With 2021 approaching its middle mark, certain records are already strong candidates for the famed end of year lists and you can be sure these lads will be appearing in a large number of them, mine included. Like I said, the quality is undeniable and I eagerly await for the follow-up which has some really big shoes to feel. This is the part where I would be sceptical but when it comes to these five, that feeling is absent. Squid, like Shame, black midi and Fontaines D.C. are going places so now is the time to jump aboard and to be as a blunt as possible, share the crap out of them. Too many uninformed and dare I say ignorant minds are stating how rock and adjacent genres are in a grim state and the temptation of showing them how wrong they are has never been stronger and more justified. And remember, avoid conformity, dream big and never lose that spark.
Bright Green Field was released via Warp Records on May 7th.
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