I've always been fascinated with oceanography, or anything related to the ocean for that matter. And with the oceans covering nearly three-quarters of our planet, there is a lot to be fascinated with. My quest to learn as much about the history of the sea and everything contained within will likely never be completely fulfilled. But, as I continue in my quest I can bet there will be musicians writing and recording music that is as inspired by the sea as I. The latest related album to hit my desk comes in the form of the sounds of Giant Squid's Metridium Fields.
Following the pulsing noise of lead in track "Megaptera in the Delta," the Texas outfit - by defection of Sacramento, California - deliver "Neonate." Here the band piece together a six and a half minute track of brooding Neurosis-inspired metal accented beautifully by well-placed keyboards. The song is dominated by big sweeping riffs; Bryan Beeson's basslines seem to rooted in the Mr. Bungle school of thought - coincidently the album was engineered by Billy Anderson, who also engineered Bungle's California and Disco Volante. Vocally, Aaron Gregory - who also shares guitar duties - sometimes, sounds like the second coming of Serj Tankian, others, like Aaron Turner.
Giant Squid scale back the aggression on "Versus the Siren." The first third (and last third) of the song is much more ambient and even jazz-like, reminiscent of the feeling of floating in a raft on the open waters. What really makes the nine-minute plus piece so consuming is the carefully executed trumpet segments and eerie keys. And even as the song picks up the pace in the middle portion of the track, the keys and trumpet are both still prevalent in the music - a feat I found quite impressive. For this track, and other moments later on, Gregory gets help from his wife Aurielle in the vocal department; her sultry melodies add a whole other level to the music.
"Ampullae of Lrenzini" returns to the form found earlier paying homage to the likes of sludge-metal legends Neurosis with big echoing riffs and the occasional ambient interludes. Producer Jason Rufuss Sewell's work is truly highlighted here. "Summit" takes to the post-rock meets metal world of the likes of Pelican; the result is fantastic. I especially enjoyed the guitar noodling found throughout the song. The album concludes with the twenty-one-minute self-titled track filled with progressive metal that truly defines epic.
Metridium Fields is one of the most intriguing releases that I have encountered this year. With so many artists writing music within the confines of what is considered normal, it is rare to find a band willing to experiment and push the boundaries of music. Giant Squid do not fear what lies on the other side, and I for one am glad.
