ALBUM REVIEW: “TANGK” from IDLES

Bristol’s post-punk / alt-rock legends IDLES are back, with their fifth studio album “TANGK” out tomorrow. They burst onto the scene in 2017 with their debut release “Brutalism” a stark and harsh album of brutal beats and harsh angry lyrics which catapulted them to the position of one of the most influential modern British bands. 2018 saw the release of their follow up “Joy As An Act Of Resistance” followed in 202 by chart topping “Ultra Mono” their rise was astronomical as they tackles issues such as racism, toxic Masculinity and the post-Brexit landscape. Barely a year later in 2021 came the release of “Crawler” focusing on singer Joe Talbot’s previous issues with addiction.

So at more than two years, it’s been a while so to speak, and its clear the band needed a break from the studio to re-set and re-focus on their future and purpose. And their focus has landed on love, that all powerful force that binds us together, gives us purpose and meaning. “Crawler” always had the feel of a transitional album using new techniques and instruments, bringing an end to the previous chapter. And so here we are at “TANGK”. I’ve spent quite some time listening to the new album, and that change of focus is quite apparent. It’s an interesting album, that I think may split opinion. Fans seeking a return to the brutality of their debut material like “Brutalism” may be disappointed in the change in their style. TANGK does something quite unique….. it shows a more accessible, gentler side, and yet, delivered in that unique style that only IDLES can do.

The album’s opening track Idea 01 is a great example of this, starting with a simple kick drum beat that runs throughout the track almost like a heartbeat, before the piano kicks in with soft yet rapid notes almost trickling out of the speak at us like water. This gives the backdrop to Talbot’s delicate lyrics about a difficult childhood and how a child doesn’t understand whats going on just feels the impact with lines like “Upside down house to a broken home, Sister’s waving arms not even grown, There’s a rag in a bucket, and your father couldn’t pay his loans. Or something”. IDLES have a reputation for their hard edges punk edge brutally tackling issues but here its tender and sad…..

Next up is Gift Horse which is more old school IDLES, with its trademark heavy backing section with Jon Beavis (on drums) and Adam Devonshire (bass) delivering some deep powerful rhythms. A track railing against the structures that inhibit us and the elitism, but again linking back to the theme of love. The lyrics are classic too and powerfully descriptive in their message:

“My baby she’s so raw

I give her love and she gives me more

Ask us to kneel and bow to the floor

She say no and she ask what for

My baby she so strong

She talks me straight when I’m doing wrong

Ask us to sing your empire songs

She laugh tells you where I’m from

…….

Fuck the King

He ain’t the King

She’s the King

POP POP POP is an interesting track slow and quiet, it still has that IDLES feel, and it’s like it will explode into raucous noise any second….. but it doesn’t. It starts with the word “freudenfreude” frueden is German for joy, and represents that feeling of joy for someone who is prospering, even if it doesn't have a direct impact on you. Short punchy lyrics express that joy and tell the listener not to “let the pricks take your inch to a mile”. I love it.

The delicate style continues with Roy which has some of Joe’s most beautiful vocals I’ve heard over a rolling drum beat. The chorus is delightful and shows a range in the vocals rarely seen with some impressive higher range “I’m sorry for the things that I said, I danced til my feet bled, I’m never gonna die. Ooh take the posers instead. The narcs, the fakes and the feds, I’m gonna fly”. It’s emotional and powerful in its sentiment if not its delivery.

Next up, are two of my favourite tracks on the album, from opposite ends of their sound. First up a beautiful piano solo introduces us to A Gospel a simply stunning and emotionally naked number about the heartache of a break up. With no drums or bass, the task falls to the simple piano with some plucked violin and strings giving it depth. The lyrics are personal and difficult, packed with sadness and sorrow “Delete my number, I’m no more….. Ignore my eyes babe, they’re just sore”.

Then we have Dancer with it’s short swirling strings intro that every time I hear it makes me think the Thunderbirds are about to launch (not sure why lol !) then that icon Devonshire, distorted deep heavy bass tone kicks in with his iconic single note style. Its classic IDLES that builds during the verse sections and then erupts in the chorus, and the bands ability to build atmosphere is second to none as you scream along to the shouted chorus vocals. Love and dancing – it’s what life should be all about surely ?

Grace is another slowburner and delivers the tag line for the album “Love is the thing” and yet it still carriers a social / political message with lines like “No god, No king, I said love is the thing. No crown, No ring, I said love is the thing”.

The video for this track is a belter too, which came to Joe in a dream, they recreate the iconic Coldplay track Yellow with Chris Martin singing the IDLEAs lyrics, walking down the same beach that he walked along for his own 2000 song, as night turns to day inside four minutes.

For a second, the start for the lively track Hall & Oates had me thinking I had put on something like His Lordship, with its crisp strutting punk guitar. It has that kind of 80’s punk vibe to it which I loved. It leads into Jungle with a deep guitar riff into that had a US punk edge to it focusing on the depths that addiction “I found myself under a Scotsman’s boot” but also the journey to recovery “He asked me for my name, He told me I was sick. I lost myself again. Save me from me, I’m found I’m found I’m found”.

Devonshire’s bass welcomes us into Gratitude a look into the mind of someone on a self-destructive course in life envisioning their own demise and funeral “I was having visions of Ten million ways to die. I was having visions of, ten people that might cry, I forgot the path I’m on, Forgot to sing my song”.

Gratitude stands out as, for me the strongest track on the album in terms of the musical performance behind the vocals. The drums and bass pound away as Lee and Bowen deliver sound astounding guitar performances, weaving through the rhythm and the vocals beautifully.

As the album draws to an end Monolith a heavily distorted bass line oozes out at us, once again with Joe delivering some soft slow vocals. This is by far my favourite on the album. As each line finishes the bass creates feedback which gives the track an eerie edge. With the addition of some subtle synth tones, its again simplistic and yet draws you in. Referencing both recovery from addiction and relationship upheaval, the lyrics pull the themes together drawing the album to a close with the realisation that I’ve found myself my own king” The bass and keys fade away to replaces by a short reflective sax solo before drifting off into the silence.

TANGK is different for IDLES. The end to end brutal political in your face edge has gone. The theme is love, and in a very IDLES-like way, they’ve delivered on their aims perfectly, tackling every aspect of love, from lost love to love for others and their achievements to the power and beauty of love. Its reminiscent of the journey from “Sticky” to “Dark Rainbows” for Frank Carter – fast and furious at every turn, to mellow and reflective, and simply brilliant !

The same applies here. I LOVE “Brutalism” it was an immense album, but despite the difference and change in style, for me….. “TANGK” is up there too. A brilliant album I’ve gone back to over and over again to experience. A richly deserved 9.5 from LiveWire Music.