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Let's deal with the elephant in the room before moving forward. TANGK? It's pronounced “tank” with a trace of a “g.” Because? It is an onomatopoeic reference to the violent way IDLES lead singer Joe Talbot imagined the guitar sound that has become a symbolic representation of living in love. Now that we have everything clear, let's continue.
TANGK is the band's fifth studio album and is highly anticipated. Follow-up to the critically acclaimed 2021 album Tractor, IDLES has never been under the musical microscope in such detail before. They kick off their 'Love Is The Fing' tour in Porto, Portugal, at the end of February before touring Europe and North America throughout 2024. Most of their UK dates have already sold out, with five added new dates to meet demand. They don't hide in the shadows, but that's not their style.
This 11-track, 40-minute offering is less angry musically and lyrically than you might assume. It is certainly not a change of direction, but rather an evolution. You can detect parts of the previous four albums in TANGKHowever, this album sounds different than before. His anger and trauma have been replaced to some extent by themes of love, gratitude and joy. This is underpinned by the need to persevere, often in the face of adversity. What doesn't kill you makes you stronger… and perhaps more optimistic about better times to come.
“If you give everything to the people on stage, they will give everything back to you. There is no nonsense in our audience, no lack of lucidity.” Talbot says. “I wanted to capture that on a record. I have more strength in me than ever and it comes from love.” So, taking this into account, how TANGK pile?
The first thing that catches your attention is Talbot's voice. We can hear him sing, a lot. Throughout the album, he uses his angry and incendiary sprechgesang sparingly. It's not a bad thing, mind you. Talbot has a soulful voice that is ideally suited to the type of music he produces IDLES. It also allows Talbot's vulnerability to shine and gives many of the songs room to breathe.
We started procedures with 'IDEA 01'. A piano plays under the direction of Mark Bowen, playing a discordant melody to begin our journey of discovery. The first example is Talbot's voice taking center stage, showing that he can sing a tune. The layers of sound build up throughout the track, creating an uncomfortable feeling that keeps you on edge. He seems to be trapped in a musical purgatory.
'Gift Horse' makes me feel like I'm back on more familiar ground. Talbot's voice reminds me of Anthony Kiedis of Red Hot Chilli Peppers on this track. “Fuck the king/He's not the king/She's the king”, Talbot proclaims in a testimony of redemption, finding someone who makes life worth living. This song has an interesting feel as the instruments come and go, occasionally culminating in the speakers blaring.
If you're looking for a hard-hitting drum beat to wake you up and get you going, 'POP POP POP' may be the song for you. “Strong as a bull/Vulnerable/Keep my people standing/That's my tool”, Talbot declares as vehemently reinforced notes. She must keep moving, keep striving, keep loving and keep living. But on a broader scale, it is also a call to arms for us all to do the same. If we all continue to fight for each other and support each other, we become stronger on many levels. After all, there is power in a union.
'Roy' greets you with an infectious tribal drum beat delivered wonderfully by Jon Beavis. Beavis comes at you violently in the chorus to keep you on your toes, shattering your eardrums like a fully functioning Heckler & Koch HK433 assault rifle. Talbot's dry vocals detail a surrender to falling in love and the benefits you may feel as a result. There's also a very catchy riff towards the end of the song, reminiscent of The Animals.
If 'Roy' assaults the auditory senses with his attack, 'A Gospel' hits the handbrake and massages your feet while surrounding you with natural oils to help you relax. Simple with soft vocals and delicate piano, sporadic arrivals of strings and guitars create soulful waves that slowly lift you up and gently place you back into your reclining massage chair.
To make sure you haven't fallen asleep and missed the rest of the album, the band immediately returns with a lively bathtub hit of IDLES to slap you in the ribs. 'Dancer' is a really sleazy and vibrant track with a bass that makes the speakers sizzle and dance. It's the kind of track that fits perfectly on 6 Music. Talbot dusts off his sprechgesang here as he talks us through the sexual tension found on the dance floor and embraces the moment fully.
Backed by an entertaining video showing an AI version of Chris Martin singing Talbot's lyrics within the video for Coldplay's 'Yellow', 'Grace' is built around a looping '80s electro drum beat.. “No god/No king/I said love is the point”, proclaims Talbot, focusing on the unifying force of love. The song feels like it's about to catch fire, but it stays in its lane until the final seconds, when a truncated 'A Day in the Life'-style outro jumps out at you.
'Hall & Oates' will probably be a mosh pit monster if it's played on the next tour. A ferocious slice of hardcore, the beat will leave you feeling battered and bruised, and the guitars will leave you like a pile of pulled pork as they tear you apart with their screeches and screams.
The band returns to more familiar territory, examining the judgments of authority figures and how they delight in eroding our self-esteem on 'Jungle'. “Sam placed the choirboy's head/On the step of the Bank of England/He raised his leg/Knighted the poor guy with his knee/There the story ends”, Talbot conveys with his characteristic mix of fury and disdain. With tribal drums driving the song and dirty guitars foaming beneath the melody, this is IDLES at its finest.
Talbot begins to look at his place in the world and understand the love that surrounds him on the penultimate track, 'Gratitude'. For me, it is the weakest offer TANGK. That's not to say it's a bad track, but it feels a little lost here. This is partly because the other tracks on this album reach greater heights, making it more striking.
The latest offering is the haunting 'Monolith'. A song that seems to allude to the protagonist finding the true meaning of his place in this world, progresses along with a dark melancholy with a Twin Peaks feel. Once again, Talbot's soft, husky voice is allowed to shine. As his singing fades, a saxophone solo takes his place. They have a striking resemblance: it's as if Talbot and the sax are interchangeable.
The production of TANGK it's excellent. Nigel Godrich, Kenny Beats and Mark Bowen have come together to conceive a sonic delight. On repeated plays, you discover little moments you missed before. A delicate touch is applied when necessary and more ferocious attacks are unleashed when a right hook is required.
The album is a call to arms for all of us: to fight for our right to be happy and content, to defy those who try to prevent it, and to love and be loved. There is also a strong theme of redemption woven throughout the eleven tracks. Redemption only comes with introspection, effort, integrity and a bag full of honesty. I've always found IDLES to be a very honest band. They stay true to themselves and don't want to be media darlings to sell a few more albums like them. I hate them. Be ambivalent about them. They will continue doing what they do regardless.
While they may not even be thinking about it themselves, I'm curious to see what's next for IDLES. Should they release a sixth studio album in a couple of years? How will it sound? TANGK It shows that they can mix and follow different paths with their music. Will the next release be evolution or revolution?
It looks like 2024 will be a challenging year: war, elections, street crime, poverty, climate change, disease and more. We could easily turn against each other as we fight for our survival. It is even possible that various factions encourage us to do so. Don't let the bastards win. Remember, love is the thing.
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