Legs still but the herd is in motion

Squid - 'Pamphlets' (Bright Green Field - 2021)

Right near the bottom of questions that were important in April 2020 around the world was what coronavirus lockdowns would mean for developing bands. How many garages would be off-limits for the 2025 equivalents of Nirvana, Metallica, Green Day or The Who, and they would miss out on those precious hours at the start of their careers honing their sound? Already, the question feels like a lousy framing - these bands are at least 35 years old; who does this when ProTools and BandLab are available to many? Similarly, it has been a long time since a sweep of new guitar bands have produced a scene or any music that should be regarded as essential.

There is one scene, and I know how much people in these scenes hate being told they are in a scene¹ that lately has produced some records and a handful of column inches; that is the relatively thriving Windmill scene based around the venue of the same name in London’s Brixton. While many have played there on the way up over the years, since Fat White Family started to gain traction in the early 2010s, others joined them with a close link to the venue. Black Country, New Road, Shame and blackmidi are joined by Squid and other acts in orbit of this scene but further removed.²

Squid, like all of these groups, have been part of a resurgence of a variation of the post-punk genre, a movement marked by a kaleidoscope of innovative influences from Talking Heads, Joy Division, Krautrock bands, Sonic Youth and The Fall. This mix of interesting and electric torch bearers mean that these bands make mumblecore post-punk jangle that could have come out in 1982 on Postcard, but there is also a tenancy to produce the odd epic for their recorded output or shows. In this vein, Squid’s ‘Pamphlets’ on their debut record, Bright Green Field, is one of the better efforts.

The band on their YouTube channel that

This is one of our songs that has shape-shifted the most and has always been a staple of our live show when we were able to tour. Out of all the music on Bright Green Field, we’ve played Pamphlets the most, and some people might remember it from our gigs. It’s a song that’s also has come full circle, we started it in Chippenham and finished it in Chippenham. An ode to Wiltshire? Possibly – but it was always the song that we knew would finish our first album.

The song showcases their distinctive approach to post-punk, blending rhythmic complexity with an energetic soundscape. The song features Ollie Judge's unique vocal style, marked by its intensity and expressive power. The instrumentation is a layered amalgamation of driving drums, urgent bass lines, and guitars oscillating between atmospheric and jagged. This is amplified by synthesisers and electronic elements, adding a more modern-sounding twist to their post-punk roots.

Reflecting on "Pamphlets," band member Louis Borlase notes its significance in Squid's repertoire and live performances.

It’s probably the second oldest track on the album. The three of us were staying at Ollie’s parents’ house a couple of summers ago and it was the first time we bought a whiteboard. We now write music using a whiteboard, we draw stuff up, try and keep it visual. It also makes us feel quite efficient. ‘Pamphlets’ became an important part of our set, particularly finishing a set, because it’s quite a long blow-out ending. But when we brought it back to Chippenham last year, it had changed so much, because it had had so much time to have so many audiences responding to it in different ways. It’s very live music.

The lyrics of ‘Pamphlets’ delve into themes of isolation and societal disconnection. The refrain "That's why I don't go outside" hit differently when those months of lockdown finally passed. That sense of withdrawal reflects the impact of digitalisation and social polarisation even outside of the pandemic. There’s an air of a façade of happiness masking underlying discontent. The song's reference to the Mesopotamian poem The Epic of Gilgamesh³ symbolises stagnation amidst societal progress, aligning with themes of isolation and the psychological effects of propaganda.

As a product of the Windmill scene in Brixton, 'Pamphlets' also showcases the importance of local music venues in nurturing and developing new music. With its layered post-punk sound and introspective lyrics, this song stands as an example of how traditional music-making – the communal, raw experience of creating and performing live – continues to hold significance even in an era dominated by digital tools.

1. The Scene That Celebrates Itself was a rarity in that sense.

2. You are looking at IDLES, Dry Cleaning, Fontaines DC, Porridge Radio and The Murder Capital as you go further.

3. This poem also serves as the subject of Johnny Flynn and Robert MacFarlane's Lost In The Cedar Wood in 2021, which also looks at the poem’s theme in light of the impact of the pandemic.