Idles – ‘TANGK’ album review: An introspective exploration lacking in imagination
THE SKINNY: There was a time, not too long ago, when Idles were at the forefront of Britain’s punk and post-punk revival. Through albums like Brutalism and Joy As An Act of Resistance, the Bristolian punks put themselves out there as a voice of reason among a divided society. As time has progressed, however, the band has repeatedly shown themselves to be an increasingly lacklustre and unimaginative outfit, acting as the punk equivalent of Keir Starmer.
On their latest effort, TANGK, the band show some willingness to develop and mature their signature sound, but these efforts never particularly feel fully developed, or interesting. The inclusion of slow, piano-based tracks could have provided an interesting opportunity for the band to explore different influences and sounds, yet these are continuously overshadowed by the monotonous tones of frontman Joe Talbot and a constant return to the outdated sounds of their early work. Idles have never been particularly noted for their lyrical brilliance, but that lack of imagination and literary effort really shines through on TANGK.
One of the positive aspects of the record is the production, which was carried out by Nigel Godrich, Kenny Beats, and guitarist Mark Bowen. The production and mixing of the tracks are near-flawless, and such a thing should come as no surprise when taking into account the previous credits of TANGK’s co-producers, including Radiohead, Denzel Curry and Beck. Ultimately, however, the production quality is irrelevant if the songs themselves lack many redeeming features. Admittedly, the album is musically tight, as you would expect from a group on their fifth studio album; it is simply let down by its lyrical content, or lack thereof.
Punk rock is inherently political, and during these politically fractious and desperate times, the substanceless, Brewdog-esque shouts of Joe Talbot simply do not have the same impact as they once did. For much of the record, Idles could easily be confused for a parody group attempting to emulate the sounds of punk, à la Jilted John. It has been seven years since the band released Brutalism, and here they stand, producing an almost identical sound all these years later. It is as laughable as it is frustrating.
For fans of: BBC 6Music, divorce, and a general sense of wondering where it all went wrong.
A concluding comment from the ghost of Thatcher: “I’m the bastarding ghost, and yet it’s these living 40-year-olds putting the willies up me! God strewth, I thought I’d seen the end of angry punks.”
‘TANGK’ track-by-track:
‘IDEA 01’: A somewhat promising start to the album, suggesting that maybe – just maybe – this album will see Idles explore some different sounds and influences. Almost immediately let down by Joe Talbot’s lack of technical singing ability. [2.5/5]
‘Gift Horse’: Attempting to evoke the anarchistic revolution of punk forefathers Crass with the line, “Fuck the king” – wow, what a radical statement Idles, please do not cut yourself on all that edge. [1.5/5]
‘POP POP POP’: We are three tracks in, and these lyrics are already becoming intensely grating. The droning, almost industrial synth music of this track is actually pretty good. If only it were an instrumental… [2.5/5]
‘Roy’: With a bassline reminiscent of The Fall’s ‘Get a Hotel’, this introspective track is among the best on the record. Talbot finds an enjoyable midpoint between his usual strained shouting and the weirdly mellow, tender vocals heard at the beginning of the album. [4/5]
‘A Gospel’: A refreshing sense of honesty and vulnerability within Idles’ sound. This is one of those moments that hint at the promising maturity of the band, though unfortunately, these moments do not feel fully realised at present. [3.5/5]
‘Dancer’: A cinematic beginning gives way to a generic Idles track reminiscent of their early material. Fairly inoffensive, nothing that is particularly new or worthy of note – if you are already a fan of Idles, you’ll probably like this one. [2.5/5]
‘Grace’: This is another of those tracks which hint at a promising sense of maturity that leaves you yearning for something of more substance. The song never really seems to get off the ground. [3/5]
‘Hall & Oates’: Down-and-dirty garage fuzz, which will likely become a fan-favourite of the band’s live performances. Aside from the rhyming-dictionary-esque quality of the lyrics, it is an admittedly infectious song. [4/5]
‘Jungle’: This track could easily have been a studio outtake from the Joy As An Act of Resistance era, sounding virtually indistinguishable from their early material, aside from the occasional moments of piano. A disappointingly forgettable effort. [2.5/5]
‘Gratitude’: A fairly tedious offering that always seems to be building to something that, upon arrival, feels underwhelming. Yet another track on TANGK, which is not particularly terrible, just painfully lifeless and dull. [2/5]
‘Monolith’: Embracing their electronic and jazz influences on ‘Monolith’, Idles showcase their adaptability – finally, on the album’s final track. While Talbot’s vocals do not particularly suit this style of song, the attempt is commendable, and gets extra points for the saxophone at the end. [3.5/5]
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