The lyrics touch on a variety of topics within the overall topic of "evil itself," with "Crispy Skin" being about cannibalism and "Blood on the Boulders" about the Manson murders. While Building 650 seemingly plays an homage to off-kilter Krautrock in an eerie all-string accompaniment marking an individuals' loneliness in visiting a country that is very different to their own. The folky double of Fieldworks is hauntingly beautiful while the self-titled seventh is a mourning trail of indie rock Showtime! deals up the psychedelic washboard while Blood on the Boulders is a foreboding lull into a dramatic conquest of noise rock that is a clear standout here.
For additional sounds, Squid called in on those most reliable. Danish experimental songsmith Clarissa Connelly weighed in, while Tony Njoku provided additional arrangements on piano. Rosa Brook threw her cents in from weird indie/punk group Pozi, percussion wizard and ethereal composer Zands Duggan also joins them but before too long we're met with the grandest of accompaniments. Ruisi Quartet perform their violin, viola and cello trio work throughout the record which no doubt projects it to greater levels.
Cowards has been described as both post-rock and art rock, with influences from a diverse set of other genres, including electronica, folk music, and psych rock. The album was seen as a continuation of the band's distancing from their earlier post-punk sound.
The album has received "universal acclaim" due it might be Squid’s most actualized and in-depth venture yet."
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