IDLES fifth studio album, TANGK (pronounced tank with a hint of ‘g’) takes the band to new places. They are evolving their sound once more but still kicking you in the teeth with it. The band, this time around, tackles the theme of love, with songs like Grace and Gospel being straightforward atmospheric love songs with that classic IDLES edge.
Speaking to NME magazine, lead singer Joe Talbot discussed the change in sound. “I was starting to go through the same bullshit cycles of behaviour and I wanted to stop to it […] I looked within, and I found that I needed love”. The theme of love permeates throughout the album, just as the theme of toxic masculinity was deconstructed in their second album Joy as an act of resistance.
Since IDLES broke into the mainstream, they gained a reputation as a band that criticies the government and the monarchy, snarling and roaring about it in their previous album. However, in the wake of their 2020 album Ultra Mono, an album defined by it’s rage-fueled deliveries and biting social commentary, IDLES changed their sound for their next release, CRAWLER.
CRAWLER was far more experimental for the band. Straying away from their punk rock roots and going for a more electronic sound as well as mixing in piano. This showed that IDLES were starting to break away from what they initially were. The sound adopted in CRAWLER has been pushed to its limits in TANGK.
“Look at him go!”
This time around IDLES play around with genre far more than they ever have before, starting off the album with the song IDEA 01. An eerie piano defines the song, as Joe sings about losing love and attempting to find a connection in a world so defined by pain and suffering. It perfectly sets up the theme of the album which is further explored in the next song.
Gift Horse throws you straight into the deep end, the roaring guitars make a triumphant return as Joe belts out “Fuck the king, he ain’t the king, She’s the King!”. The song stands in stark contrast to what IDEA 01 set up, however it functions more as IDLES justifying that they can still blow the paint of your walls but they are more than that.
POP POP POP takes on a sound similar to The Streets, the singing turning into speaking as the only instruments that occupy the sounds are kick drums and a swaying synthesiser.
Roy continues the spoken word elements set up previously, the lyrics becoming sentimental and longing. The song is incredibly reminiscent of 90s trip-hop, Joel wailing “I’m a smart man, but I’m dumb for you”. It’s an exciting display of what IDLES could explore in the future.
“No god, no king”
Gospel functions as an exploration of a relationship that is on the verge of breaking. It’s a very emotionally impactful song with Joe singing slowly over the gentle glistening piano.
Just when they think you understand the general sound of the TANGK, IDLES throw a curveball with the song Dancer. The first single for the album, it stands head and shoulders above the other songs on the album, guest featuring LCD sound system on group vocals. The song functions as a bombastic showcase of the bands talent, from witty song writing to furious drums, it’s got it all.
Grace pulls the sound back, with Joe returning to singing instead of shouting. It’s a song dedicated to loving someone and finding yourself in that person. It’s a gorgeous portrayal of unrequited love and incapsulates the albums themes perfectly.
Hall & Oates is the strangely the weakest song on the album. It’s a straightforward post-punk tune but it doesn’t carry the same weight as the previously discussed songs. Which is funny considering it’s most similar to IDLES’ early music.
“No crown, no ring”
Jungle is a song of violence, a story of pain and overcoming yourself. It’s got great writing and some really impressive use of droning guitars. However, the repeated guitar riff becomes grating over the song’s run time, only changing when the chorus kicks in.
Gratitude closes off the harsher tracks of the album. The instruments cut through your ears as Joe transitions from singing to shouting seamlessly. The song closes with a fantastic breakdown with the instruments coming front and centre. The mix of electronic and punk blending into a gorgeous mess.
Monolith is a solemn close to the album. It serves as a welcome comedown, the dust settling, finding peace in love. The album ending with a saxophone quietly fading out.
“Love is the fing”
TANGK proves that IDLES are more than just a punk band. They explore some very interesting genres throughout the album and the theme of love works great with this exploration. The weakest aspects of the album are when IDLES emulate their old sound.
It’s an album I’ll be listening to for a very long time and it’s one that has grown on me more and more after every listen. I recommend TANGK for fans of IDLES as well as those looking for a different interpretation on a love song.
Featured Image Credit: NME.com
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