So often it’s said that live music shows different and more complete pictures of bands, and the bonus live recordings from this reissue of Giant Squid‘s first ever EP, Monster In The Creek (Translation Loss Records) affirms that point with gusto. This Texan / San Francisco quartet is now shorn of Aurielle Zeitler, the female vocalist of the original issue of Monster in the Creek (Translation Loss Recordings), but still purveys the blend of progressive madness and melancholy beauty on show here: organ parts, jazz-like flurries, and winsome vocals from Zeitler combatting the angry vitriol of male vocalist Aaron John Gregory.

It’s minutes into the opening title track before the first shot in anger reassures the listener that this isn’t a Carpenters album: roaring guitars accompany Gregory’s sneering delivery, not dissimilar to John Lydon circa PiL, this having succeeded an earlier indie wistfulness. Zeitler’s delivery is a little reminiscent of early Beautiful South chanteuse Briana Corrigan on the balladry of Dead Man’s Fog, whilst there’s a modern torch-style to the opening of Age of Accountability: a smoky breeze evoking solitary corners of a Parisian brasserie, and some stylish vocal interplay with gorgeous melodies. Again however, the final third sees crunching riffs, chaotic organ breaks and Gregory’s snarl return. He adopts a death scream in the bizarre circus-punk of Throwing A Donner Party, the riffs of keyboards and guitars lifting and soaring in unison, the track’s light-hearted title betraying the first serious outbreak of fire and its dark subject matter of shark attacks. The prog-folk lilt of Dare We Ask the Widow brings us back to the core sound, with some heartbreaking Zeitler intonations leading toward a crashing crescendo in the most alluring, bewitching track of the set. Closer Lester Stillwell is a high-pitched, plinking organ accompanying those subtle riffs before the latter half of the album sees those instrumental demos and more violent live performances show the band in a new, enlivening light.

Whilst this is one of the most diverse, warming yet beguiling albums I think I’ve ever heard, its disjointed but fitting blend of beauty and strength totally absorbs me and is definitely worth repeated investigations.

8/10
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Paul Quinn