Squalus
The Great Fish…
Translation Loss
Release 9.15.17
Review by hutch
First things first. Squalus is 4/5 of the band, Giant Squid.
Giant Squid were self-proclaimed “prog” sludge metal. Those elements all remain
here on The Great Fish... as Squalus
paddle forward. Pertaining to the absent fifth member, Squalus does not fill
the guitar slot. Rather, the band doubles up on bass guitars and rolls with
keys and drums. From Giant Squid to the moniker of Squalus, a type of dogfish
(sharks), these four chaps illustrate their fiery affection for the foreboding
dangers of oceanic depths. The Great
Fish... exhibits certain strengths while calling a niche audience to
listen.
Upon first listen, the eschewing of six strings hones
attention to the other instruments; especially the keys which protrude from each
track. And when the word “keys” is utilized, the plural is intentional. There
are synths and straight piano key sounds on deck. The odd configurations of
rhythms and time signatures throughout elicit the prog-rock feel. But the
execution illustrates a (deceptively) simpler, more direct instrumentation which
conjures eclectic influences. While most likely not an influence, the Florida
swamp sideshow orchestra, Viva Le Vox, comes to mind with
The Great Fish... emanating a weirdly alluring circus vibe and a
cautious bog of peril. Also, we hear some aspects of sonic schizophrenia akin
to Faith No More; not in sound but approach. But the roots are filthy riffs of
raw rock and roll.
Parts of The Great
Fish… evoke Giant Squid’s Minoans
but instead of gentle tangents we get quirky. Again the foundation definitely harnesses
sludge elements. But the piano – while most doom or garage bands striving for
an eerie sound would defer to a traditional Hammond B3 sound – this cleaner piano
sound (still probably on a synth) adds a macabre atmosphere. “Eating Machine in
the Pond” distinctly pulls from the churning dark synth reverb (layered with
the normal piano) of John Carpenter as it births a pummeling rhythm section;
grinding, bellowing.
Instead of squealing guitar leads, the keys reel and spit.
“The USS Indianapolis”, although it started out with funky jazz diversion,
almost calming, certainly hypnotic, eventually dives deep into the fathoms of
torment. The beginning is Smooth and perky – and then the, well, squall crashes
into the track with big movements. Noise and confusion drown the listener in a
barrage of low end splendor.
The successive openers – “The Great Fish” and “Flesh Bone
and Rubber” – are engaging and promising. Gnarly, jangly bass riffs and
provocative drums charge along with growling vocals. The quick (under 3
minutes) duration of “Town Meeting” swirls in a chaotic deluge. The repetition
of chainsaw synths, banging; ripple out with early Murder City Devils type rock
and roll.
If you have not pieced it all together from the song titles,
The Great Fish… is about Spielberg’s
1975, JAWS. I would assume the lyrics
are of “Town Meeting” are Quint’s proposal at the town meeting, screamed;
especially since the track ends with the vocals stating the Mayor’s unsteady
reply of the film. Tracks dedicated to the Cassie Taylor autopsy by Hooper,
“Jack the Ripper” - a reference from the film to the English whore slayer, and
other aspects of the film are exciting for any fan of the leviathan of summer
blockbusters; when art and craft could be hooked to mainstream money maker,
luring in thrill seekers and cinephiles.
“The Orca” proves that chaos is a fine instrument to wield.
The cacophony and rage emanate from the track, relentlessly churning. A sweet
90 second melody on a piano ushers us into the lapping thumps of “Swim Charlie,
Swim”. The bass line and synth wrestle for dominance. It’s a cool
instrumental.
Ultimately, for a doom/sludge/stoner/noise fan, The Great Fish… has to be compared with
Akimbo’s Jersey Shore. It’s
impossible not to do so. In 2010, Akimbo released a stellar noise rock album of
6 tracks about the 1916 bull shark which menaced New Jersey, killing four people.
Matawan (July 12), Spring Heaven (July 6), and Beach Haven (July 1).
The Great Fish... doesn’t
adhere that strictly to such a concept, more just singing related songs
inspired by JAWS. There is not a three
act structure or anything. But The Great
Fish… is a fun romp, flailing and splashing; disturbing any notions of
security like the opening scene of JAWS.
A detractor, in my opinion, is that Squalus reiterate narration and quotes from
JAWS instead of sampling. While most
certainly a monetary decision, the replacement is distracting to me because
with speeches or quotes from such a recognizable film, it is confusing to hear
it spoken in a new voice, especially one recalling Billy Bob Thornton from Sling Blade.
The vinyl is fitting and damn gorgeous, boasting two choices
of oceanic blue or blood splatter red on blue. The packaging is stellar with a
cover of a painting by member, Aaron John Gregory, uncomfortably inspecting a
close up of a great white. Again, this record is fun. And it is a concept album
but it is not precisely chronological or regimented as a dramatic arc. Which is
fine. It doesn’t try to be. It’s dirty metal fueled by adoration for a great
film.
RIYL: Brain Tentacles, Ahab, Akimbo, Intronaut, Maserati, John
Carpenter, Goblin
The big difference from their prior output, last year’s
full-length, Sick of It and two EP’s,
Awful and Devout, is low end. Whether they tuned (even) lower or just amped
up the post production. The other material had the spirit, but War is delivered with bombastic terror.
Rig time’s sound on War is ugly,
writhing in fetid disdain. Coming from La Crosse, WI, I am sure the scene is
scant and pushing them to be heard. War
will create waves towards both coasts, especially now as they debut on
Innerstrength Records.
Rig Time! nail it with tracks like “Garbage”, “Succumb”,
“Blister” and “Cleanse”. Puncturing their blend of sludge and hardcore – with a
tight embrace on powerviolence – the band kicks fast and dirgy tones,
manifesting unbridled hatred. War is
dripping with rage, vocals are strained and emphatic. The rhythmic pummeling of
a more atmospheric “Discomposure” or “Deserve” show a propensity to manipulate
mood and not just the strings of an instrument. The trio push many two-step
parts spurring ill breakdowns with a groove. Noisy tones and ugly sentiment.
While, going back to “Succumb”, Rig Time! have blastbeats charge with that
double bass hammering away to the howls of “We bow to no one!”.
