IDLES - ‘TANGK’ review
IDLES by Daniel Topete
IDLES released their fifth album, TANGK, on February 16th via Partisan Records. In what seems like a remarkably short period, IDLES have transitioned from being stalwarts of the Bristol scene to becoming a Grammy-nominated band. TANGK is more than just an album; it's a testament to love, welcoming all who seek a voice to resonate with their emotions as they grapple with the void.
Produced by the band's own Mark Bowen alongside Kenny Beats and Nigel Godrich, the album unleashes a devastating impact, showcasing IDLES' sound as larger and more imposing than ever before. With TANGK as the catalyst, IDLES appear poised on the brink of a supernova-like breakthrough to become one of the biggest bands on the planet.
The album opens with "IDEA 01," a slow-building intro that bears the distinct imprint of Godrich's influence. This track serves as the overture for the album, showcasing a more nuanced sound that remains unmistakably IDLES. While many categorise IDLES as simply a punk band, they transcend such labels. While they may draw from punk roots and embody its socially conscious ethos, they are much more. Frontperson Joe Talbot's passion for hip-hop is palpable in the raw intensity of his lyrics and delivery. Meanwhile, Mark Bowen, often labelled as just a guitarist, is anything but. Drawing inspiration from the likes of Aphex Twin and Sunn O))), he brings a wealth of techniques and influences to the table.
After the overture of “IDEA 01”, "Gift Horse" hits us like a guttural punch, showcasing a sound that can only be classified as classic IDLES. Lyrically, the track sets up the theme of the album: LOVE, but still through the lens of Talbot's scorn for the modern British state. Its final lines perfectly summarize the inspiration of the album: "My baby is beautiful, all is love and love is all, F**K the king, he ain’t the king, she’s the king, look at him go." The track is a testament to finding someone or something that makes every moment not just tolerable but rewarding.
With an album as all-encompassing as TANGK, it could be effortless for this review to delve into a detailed track-by-track analysis. However, to spare you from wading through a verbose dissertation on LOVE and IDLES, and to alleviate our editor from sifting through excessive hyperbole, I'll cease after discussing just one more track. "POP, POP, POP" stands out as my favourite track on the album. Musically, it resonates as almost a darkcore anthem, drawing influences from the UK drum and bass scene. Lyrically, it encourages us to keep loving, keep going, and keep living. Its final refrain of the mantra "love is the thing" once again underscores the album's central theme of love, ensuring it resonates with listeners loud and clear.
At approximately the midpoint of the album lies "Dancer," commencing with a crescendo of electronic strings before transitioning into angular-driven basslines and scratchy, scuzzy, tangky guitar that provide Talbot with the perfect platform for his dancefloor anthem. It's a gritty, sweaty track delving into the theme of sex on the dancefloor, capturing that final, emphatic burst of ecstasy as we momentarily escape the world's pressures. Talbot's vocals are bolstered by the contributions of LCD Soundsystem's James Murphy and Nancy Whang, further solidifying its credentials as a dancefloor sensation.
Exploding into our senses like a limb flung in a mosh pit, "Hall & Oats" stands as the shortest track on the album, clocking in at 02:23, yet it packs a punch as a pure hardcore-infused banger. Played at a blistering speed, with dry overdriven guitars and chest-thumping drums and bass, the track serves as an anthem to the love we share for our friends. It evokes images of the end of a drunken night out, erupting into scenes of pure love as everyone embraces the moment. "Hall & Oats" inspires us to cherish that feeling of love and hope, not just for the night, but for eternity.
Following the philia of "Hall & Oats," we encounter "Jungle." Lyrically, the track embodies classic IDLES themes, with violence and sneering erupting as Talbot's disdain for authority figures becomes evident, all in quintessential IDLES style. Musically, "Jungle" bears more resemblance to its namesake influences than to IDLES' post-punk roots. The evolution of Adam Devonshire (bass), John Beavis (drums), and Lee Kiernan (rhythm guitar) from pure angular rock musicians to something more profound on TANGK is astounding. Like the pistons of a steam train effortlessly churning under pressure, they have refined their sound to devastating effect. The influence of Godrich, with his associations with acts such as Radiohead, has brought out the best in Bowen, propelling IDLES into a new sonic territory that remains distinctly their own.
"Monolith" serves as the album's closing statement, showcasing yet another facet of the band's evolution. Backed by a dark, pulsating synth infused with influences reminiscent of Burial and Four Tet, it provides the perfect finale for the album. Lyrically, it delves into a haunting, brooding type of love that envelops all who listen. The track culminates with a longing, pensive sax line provided by avant-garde saxophonist Colin Webster, drawing the listener in and leaving them yearning for more.
TANGK stands out as the most captivating record I've encountered this year. As I mentioned previously, the record is poised to act as the catalyst propelling IDLES towards the status of one of the biggest bands on the planet. In Joe Talbot's words, TANGK embodies the notion that "all is love and love is all” arriving at a time when love is desperately needed. It feels as though society has been plummeting into a spiral of hate for far too long, and the antidote to this is undoubtedly love. Sonically, the record showcases the band's most layered and mature sound to date, definitively proving to any sceptics that they are not merely a punk band; they are something more —they are IDLES.
TANGK from IDLES is out now via Partisan Records and available on all good streaming platforms. The band are making multiple festival appearances this summer including a Thursday night headlining slot at Truck, and are going on a UK tour at the end of the year.
