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.

Warthur Giant Squid's Cenotes presents five compositions which haver on the borderline between sludge metal and post-metal, with Jackie Perez Gratz on cello adding an intriguing texture to the material. The introduction to the first track, Tongue Stones, has an almost gothic quality to it, presenting stentorian vocals over a cello-dominated musical backing, and the doomy sound once the metal kicks in underscores that, whilst fans of technical or progressive metal styles will appreciate some of the more virtuoso passages here. In short, the band have cooked up a post-metal feast which will appeal to a broad range of metal fans rather than singing to the post-metal choir. I don't think it quite attains full-on classic status but I certainly don't think you'd be wasting your time to give it a try unless you have an especial distaste for technical or experimental metal styles.

UMUR "Monster in the Creek" is an EP released in 2005 by US experimental rock/ metal act Giant Squid. It is Giant Squid´s second release (not counting the self-released "Revolution in the Water/Ampullae of Lorenzini" single from 2001)and was released through the Tyrannosaurus Records label before the band got signed to The End Records label. Giant Squid´s debut album "Metridium Field (2004)" (which was also released though Tyrannosaurus Records) was re-recorded in 2006 and released as the band´s first effort for The End Records. I haven´t listened to the original version of "Metridium Field" so "Monster in the Creek" is actually my first encounter with the band´s music. This might be an EP but the running time is 34:43 so there´s lots of quantity as well as quality on this release.

The music on "Monster in the Creek" is post rock with occasional nods toward post metal. The music features both male and female vocals which add great diversity to the atmosphere of the songs. The mood ranges from melancholic, to aggressive to at times almost happy (just listen to "Lester Stillwell"). In addition to guitar, bass and drums there are some very dominant keyboards featured in the songs. Those keyboard motifs give the songs some of their unique sound IMO. The male vocals have an emo edge to them and it took me some time to appreciate them but when Aaron Gregory sings in a more aggressive style he reminds me of Jello Biafra (Dead Kennedys, Lard...etc) and the song "Throwing A Donner Party" actually has some punk leanings. There are some really beautiful sections in some of the songs as well and I would like to mention Aurielle Gregory´s singing in the songs "Monster in the Creek", "Dead Man's Creek" and "Dare We Ask the Widow?" as one of the highlights on the EP.

The musicianship is excellent. This is a really well playing band.

The production is solid but nothing out of the ordinary.

"Monster in the Creek" is a great surprise to me and I will definitely seek out the rest of Giant Squid´s discography too. A 3.5 - 4 star rating and a big recommendation from me is deserved. An excellent adventurous release from a very promising band. I can´t wait to listen to more.

bonnek Metridium Fields is the debut album of the US band Giant Squid, a highly original gathering whose name brings both Giant Sand and Gentle Giant to mind. The music isn't really similar to those bands, but nevertheless it shares the rough and tattered desert vibe from Giant Sand and the highly eclectic mix of styles from Gentle Giant.

While the record easily impressed me at first, the attraction didn't last. The immediate attraction came from the unique sound of the album, created by mixing the brutal post-metal of Neurosis with more gentle indie rock touches, with the jazzy vibe of King Crimson’s Islands album and a free experimental attitude. So it has all the ingredients to deliver an explosive cocktail. But…

The reason why I grew tired of the album is because it misses passion. No matter how intense the vocalist tries to deliver, the musicians leg a few leagues behind. At no point on this album do I hear anything interesting from the musicians. Especially the heavy guitars never go beyond stereotype Black Sabbath riffing. Also the drums are pretty basic. The soft guitars and accompanying instruments work better, but at its heavy moments this album is craving for a streak of fire.

Metridium Fields is a promising album but not one I kept playing a lot. Giant Squid returned with another album 3 years later (The Ichthyologist), where they brushed up the flaws of the debut and where their songwriting and sound works a lot more convincingly. I suggest you start there.

Phonebook Eater When I found this album around in prog archives, I thought I should give it try. It's not a bad album, but many times it falls down to a low level, especially in the second part of the album.

"The Ichthyologist" sounds a lot like, thanks to the fuzzy and heavy guitars and the desperate sounding vocals( many times it sounds like " System Of A Down", music from the bottom of an ancient ocean,or a deep, deep hole in the earth. The first track is the best one of the album, "Panthalassa". Absolutely love the guitars, so crude and violent, the drums really give the sensation of archaic. Even the second track is really good, longer than the first one, even this one is violent, aggressive in many points, calm in other. The two following tracks are very mellow, like all the second part of the album, and not really worth the mention for me.

"Throwing a donner party" is another great song, really worth the listen, with a catchy chorus, always being faithful to their more aggressive style.

The second part of the album is REALLY disappointing, I could barely finish the whole thing. Is it just me, or are Giant Squid not so good in writing ballads and mellow songs? Anyway, I didn't like it at all, in one word: Boring!

In conclusion it's a good album, with nice ideas, but even bad ones. I know they could have done a much better work.