“Crispy Skin,” the first song on Squid’s new album “Cowards,” is one of the most elegantly composed pieces of music about eating people that I’ve ever heard. Its crystalline synth intro is quickly augmented with machinelike drumming and brief string stabs before the bass comes in and kicks the record into high gear.
The album keeps up the momentum from then on, combining classic postpunk with postrock, minimalism and prog. The songs are chaotic, constructed from seemingly mismatched parts that nonetheless fall into place perfectly. Every track threatens to fall apart, but somehow everything coheres.
Ollie Judge, who does double duty as drummer and lead vocalist, is responsible for the motorik grooves and sprechgesang vocals that lend credence to the band’s claims of Krautrock inspiration. His vocals toe the line between histrionic and restrained, as he seems to be holding himself back from raving manically into the microphone.
On “Building 650,” Judge’s four-on-the-floor drum part provides a solid bedrock over which the band lays freewheeling guitars and shouted, borderline-whiny vocals. His cool detachment contrasts with the intricacy of the song’s composition and production.
My favorite tracks on the album are “Fieldworks I” and its immediate successor, “Fieldworks II.” The two songs flow perfectly despite their very different sounds.
“Fieldworks I” is minimal, with quiet vocals over a repetitive harpsichord and synthesizer soundscape that becomes more intense near the song’s end, leading into “Fieldworks II.” Where “Fieldworks I” is simple and completely free of percussion, its sequel builds layers of sound over a propulsive, machinelike drum beat and plaintive guitar riff.
The instrumentation throughout the album is beyond reproach. Judge’s drumming is perfectly timed, and his vocals suit the music perfectly. Laurie Nankivell’s bass playing alternates between subtle, minimal melodies and driving rock rhythms. Louis Borlase and Anton Pearson’s dual guitars are memorable without becoming overbearing.
If I had to pick one instrumentalist who most defines Squid’s sound, it would be synth and strings player Arthur Leadbetter. His arrangements and playing are essential components that set Squid apart from their post-punk contemporaries.
“Cowards” is a fantastic record, drawing on classic postpunk and postrock traditions while breaking new sonic ground. It’s my favorite of Squid’s albums thus far, and I look forward to following them wherever they go in the future.
