Metridium Fields (the End)
Reviewed by Audra Schroeder, Fri., Nov. 17, 2006
Metridium Fields (The End)
Like fellow massive brethren Mastodon, Giant Squid plods through myriad time changes and tempos, coupled with guitarist Aaron Gregory's bloodcurdling screams and theatrical breakdowns. The grandiose "Neonate," with its Zeppelin-esque Middle Eastern breakdown and piano interlude, and the post-metal of "Summit" prove that the Sacramento transplants, supplanted live with Kimberly Freeman and Scott Sutton of Austin's Ghetto Princess, know a thing or two about pacing, especially under the thumb of engineer Billy Anderson (Neurosis, Mr. Bungle). "Versus the Siren" drifts along dreamy intervals, pairing Aaron and wife/guitarist Aurielle's vocals, but the middle section of Fields drifts a bit, begging for a knife to cut fat. The end-time jam of "Metridium Field" ascends slowly before reaching out and slapping you into the muck, a lone trumpet signaling death. Doomy, gloomy, but elegant.