To say I’m a little tardy on this would be, well… pretty much standard for these pages, but nonetheless somewhat understating things. Anyone else who counts has already been here, said it, seen them and moved on.
But unfashionably late, here I am.
Anyway, the sun’s out (it’s October, by criminey!), I have a ticket for Kingsholm this afternoon and I’m no longer working weekends – let’s not waste time on foolish recriminations. Who knows when I’ll next have the time to fritter away on sharp music and clumsy words? (Although, next weekend’s looking quite good…)
Squid
In short, I’m really enjoying the Squid album, Bright Green Fields. It’s a whole bunch of awkward, unexpected fun. I doubt I’m the first to draw parallels with 2019’s young blades, Black Midi, but that same incoherent, ambitious energy is spaffed about all over Squid’s debut.
Watch this busy, engaging KEXP performance and come back in a few minutes…
I love Ollie Judge’s hectic drumming (and of course the fact that he sings too – let’s never take singing drummers for granted…), plus all the other percussive contributions that add so much colour to an already overloaded canvas. I love the various sonic tickertapes each song shamelessly models, like some overconfident second year fashion student. I’m also really keen on the lengthy brass intrusions that change mood really, really effectively.
But I’m also struck by how many guises Post Punk still takes however many years it is after Metal Box. I can hear PiL and the Fall here (of course), loads of XTC and even all sorts of hints at the “funk” post punk bands that came next and that I generally despise. Not here, mind.
This is a great set but doesn’t even include my favourite track off the album, “Boy Racers”. This song I really do love. I love it for all of the above reasons – frustrated trebly guitars, itchy rhythms and that long unhurried dreamy outro. What clever stuff…
How many ways can young fellers find to play around atonally on their fretboards? God save…
Partly Porpoise 