This is the busiest I’ve seen New Century. It could be that everyone has come inside to avoid the awful weather or it could be that Squid are very popular. That’s not something I’d have thought likely for a band like Squid years ago, but times are changing and complicated post-punk with hints of freeform jazz is no longer a barrier. There’s quite a range of faces, young and old, that collectively usher a polite roar of approval as the band take the stage, before silencing as some kitchen sink percussion begins to lead us in to ‘Swing (in a Dream)’. They sound good. They sound powerful, but I’m instantly aware that with the packed room and the fact that I’ve opted to stay near the back as I’m feeling rough as a bears arse, means there’s a detachment. Squid are a band that challenge you. Thier sound hits you, rather than hugs you. It’s a bit cold. The girl in front of me feels this, resting her bored head on her boyfriend’s shoulder and another son and mother look a bit dubious as dad dances (sort of) in front of them. Gigs are different at the back of the room. Guitars are scratched. Horns blown, sampled and looped as the drums pound. Controlled cacophony. ‘Undergrowth’ though builds, ducks and dives beautifully. It’s a bit of an opus and my thoughts about this feeling a little soulless quickly dissipate. The deeper we get the more hooked I get. ‘G.S.K’ is like Aphex Twin having a go at Ozrics but with guitars. There’s a dizzying amount of instrumentation. I’m momentarily convinced I’m in a GY!BE gig as a bow is mournfully pulled across a cello and I head back to the safety of the back of the room, having ventured forward into an area that I don’t think appreciates my stifled coughing. ‘Narrator’ pulls us back on track as the guy next to me asks “Was that an interval”. Which there kinda was. Clearly not a cello fan, he’s much more into Ollie’s screams of being his own narrator as he pummels the drums in front of him. Is drummers covering vocals becoming a thing? This is the second gig on the bounce where the drummer has been given such lofty duties. When they all lock in they’re their most fun. Blissed out stoner vibes getting heads bobbing on mass. It’s a mid-set highlight, just lovely. It’s been a while since I witnessed such an uncompromising set player to such a large audience. It’s very reassuring. Although I’d love to watch them again tomorrow night when they play across the city at the much more intimate Yes. I’ll be elsewhere though. You’ll have to wait to see where. One I don’t know is introduced as being about “people eating people” see, not your average mass crowd pleasing stuff. But it doesn’t stop a breakout of spontaneous hand clapping. ‘Peel Street’ is as close as they get to dancey all night. It’s a bouncy bugger with a rolling bassline and the lighting guy responds with some colourful gels. I’m getting tired though and things start to roll together. There’s a lot of people leaving which is confusing and Ollie is singing “I want to fuck you like an animal” which makes me wonder if I’ve dozed off and found myself in a NIN dream. ‘Documentary Filmmaker’ pulls me back in with its haunting organ unpinning a mammoth wall of glorious noise for Ollie to scream over, again Laurie’s bass keeping things tight and taught. I do think they’re perhaps one of those bands I prefer on record, but they’re loose and vibrant live, keeping you on your toes and still definitely worth checking out if you’ve not already… if you can get a ticket.
