#o monolith

the city burns

the blades turn

original art and character design inspired by squid's o monolith

I am currently working on a MAP part, but I managed to cook up this little illustration over the span of a few days... 2 hrs total I think? I have no free time currently

As one of the blander and more predictable bands in the Windmill scene, Squid needed to get a little more distinctive on the group’s sophomore. And that they do. O Monolith is more varied in its vocals and rhythm and less prone to shouting and yelping for the sake of it. It’s decent.

O Monolith by Squid

Squid moves further out from spike-y, rant driven post-punk to mathy abstraction in this second full-length. My review of the debut centered Ollie Judge’s yelping, fracturing vocals, but this time, the sound around him is the thing, denser, more textured and putting feelers out towards jazz and proggy post-art-rock.

Second full-length album from the Brighton post-punk band produced by Dan Carey

8/13

Like Squid’s debut, O Monolith begs for attentive listening. While 2021's Bright Green Field was by no means the serene country land of its title – in fact, it leant heavily on concrete – comparatively it is a pastoral stroll. O Monolith is a torn-up patchwork of terrain; scorching sands sutured violently into haunting forestry, sprawling ocean scapes tidally enveloping dense metropolitan high-rises.

The non-hierarchical ethic of the Brighton five-piece affects a wilding selection of contrasting musical ideas upon their output. For most bands, this tapestry of sounds would flounder and reject its connectivity, but Squid successfully stitch diverse concepts into one brooding work.

The ecstatic electro-terror of Swing (In A Dream) should (but does not) jar in its preceding of Devil’s Den, a woodwind-heavy number, harmonious and gentle in its infancy but characteristically explosive in its latter moments. The Blades is premised on a minimalist glitch-beat evocative of Syro-era Aphex Twin, and grows to a fuzzing swirl tangling with Ollie Judge’s wailing.

The final track of the project is the most worthy of being considered monolithic in its own right. If You Had Seen the Bull’s Swimming Attempts You Would Have Stayed Away provides three distinct sonic variations in its first minute alone, and does not rest on its laurels from thereon out. It encapsulates O Monolith, and elevates it.