Album/EP

Idles – TANGK (Album Review)

Walladmin

Heavy Metal Wordsmith

Feb 15, 2024

7 min read

Idles – TANGK
Released: February 16th, 2024

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In the final episode of season five of the multi-award winning TV series Peaky Blinders there is a profound scene where fascist political leader Sir Oswald Mosely enters a building to host a rally for his supporters. Tommy Shelby (brilliantly played by Cillian Murphy) and his street gang are hired as security for the event but have secretly hatched a scheme to assassinate the controversial politician. Without revealing any further spoilers, it is an astonishing sequence of events that take place and leaves the viewers on the edge of their seats.

The backing soundtrack for this astounding piece of cinema is a combination of tracks from Bristol’s post-punk luminaries Idles including ‘I’m Scum’ and ‘Never Fight A Man With A Perm’; this coupling impressively won the quintet the Libera Award for Best Sync Usage in 2020. The truly remarkable aspect to this is the lyrical prose Mr Talbot penned in ‘I’m Scum’, a flawlessly crafted poem against societal expectations, fascism, and an introspection of the struggle of self-worth. These topics are extremely important and powerful now, also back in 2018 when the song was released and even in the period before World War II erupted and devastated the world.

That’s what this British art-punk quintet are: important and powerful. Thankfully, early in 2024 Idles are releasing their fifth studio album entitled TANGK and their message has maintained those characteristics and eminently explored a new world with their persona, just like Tommy Shelby continued to do.

‘IDEA 01’ eerily creeps in with electronic flourishes and a heartbeat percussion before a cinematic piano delicacy elevates a dream-like atmosphere. It is at the confusing juncture of whether this could be the sequel to Thom Yorke’s Suspiria soundtrack that Joe’s vivacious vocal arrives, but with a tenderness that would make The National’s Matt Berninger swim in a ‘Sea Of Love’. The introduction does not amplify to Idles’ reputed racket of punk rock at any stage of the three-and-a-half-minute opener, yet the haunting impact is inescapable and the repeated message of “The Fire” causes the listener’s spine to tingle tremendously.

‘Gift Horse’ evokes the energy of Joy Division’s ‘Atrocity Exhibition’ but with an injection of The Birthday Party and then the new-wave-disco explorations of Bloc Party. It’s still Idles undoubtedly, however their experimentation of where they can take their musical profile is uncanny and spectacular.

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illuminates this delightful discovery further, with hints of Radiohead’s luscious ‘Lotus Flower’ emanating in a hypnotic trance infused with trip-hop tendencies. ‘Roy’ then undertakes almost the entire musical career of Nick Cave and fuses it to a breath-taking snapshot of four minutes. Flamenco guitar sprinklings and tribal drumming are superbly strange, yet, extraordinarily it is STILL Idles.

‘A Gospel’ is incredibly intoxicating; an exquisite ethereal ambience that Air wish they created when undertaking the soundtrack for The Virgin Suicides – dare this scribe admits that as a piano ballad, it is possibly more illustrious. Then lead single ‘Dancer’ is unequivocally Idles and the collaboration with LCD Soundsystem takes the Brits’ marvellous muckiness in post-punk toward disco structures that would work in a nightclub with the correct open-mindedness. It is a wondrous experience.

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is a quaint piece of eloquence that circles around a pop new wave amalgamation like Officer distinguishably compose, but with more impact sonically through a peppering of grittiness. ‘Hall & Oates’ hits with true Idles’ fire that indie-punk aficionados gravitated toward when ‘Brutalism’ became the score for an ever-increasing imbalance in the world in 2017. To be frank, it very well could be a song that The Kinks wish they wrote, and the David Bowie inspired interlude is simply stunning.

Imagine “Cowboy Post Punk” as a genre; if that is too difficult, then ‘Jungle’ will drive the spectator there. The storytelling and Westworld theatrical feel is immaculately compelling and it feels like spurs are actually used in the percussion. ‘Gratitude’ comes across as a lost cut from Warsaw’s early recordings, although it has been completely remade and revamped with Fatboy Slim assisting in production. It is reckless and imposing in the best way possible – as confusing as that may read.

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The almighty conclusion to a full-length can be often overstated. Gloriously Idles have opted for a discreet farewell of experimental nature with LP number five. A closing statement more than a grand orchestral ceremony; the barely three-minute murmur entitled ‘Monolith’ unfolds like the credits to a film ingeniously. A shimmering saxophone solo is administered to accelerate the enjoyment of this jazz-lounge cocktail that slightly burns, yet persuades the adventurer to try it all again, because this is a new world.

TANGK is a record which affirms that the veil of negative self-worth has been well and truly obliterated by Idles. Joe Talbot has even professed that this album is about “love” and that: “This is our album of gratitude and power.” As stated earlier in this review, this five-piece are “important and powerful”.

“Love is a dangerous thing. It can make a man do things he never would have dreamed of.” — Tommy Shelby.