Post-punk warriors IDLES are entering an interesting crossroads in their careers. After garnering acclaim from not only critics and fans worldwide but from prestigious arenas like the Grammy’s, the band is forced to ask a question we all come across at some point; what’s next? Does a band with such uniqueness continue to revel in the sound they concocted or dare to explore new terrain in search of something refreshing and new? IDLES has never shied away from the latter, each of their previous albums saw different incarnations of their sound growing and expanding with every breath from their fearless leader Joe Talbot. For their fifth album, TANGK, IDLES made the most daring creative leap of their career and to say it paid off would be a grave injustice to the music presented on this album.
A band emerging with a one-of-a-kind sound is one thing, but seeing that unique sonic realm evolve into an entirely new creation is something entirely different. Thanks to the help of long-time collaborator and IDLES fanatic Kenny Beats and super-producer Nigel Godrich, IDLES have entered a completely new era without a single warning. Even with a fair heads-up, nothing can prepare you for the eleven songs featured on TANGK. Talbot’s vocals take on a whole new life as he leaves the aggressive chants and fiery melodies in the past and opts for a more soulful approach. These soaring vocals are juxtaposed by murky arrangements that get contradicted by a positive lyricism that centers around the idea of gratefulness. The album is at constant war with itself in the most magical way possible, creating otherworldly textures and establishing IDLES as far more than another rock band.
From the very moment you press play, you can tell TANGK is going to be special. “IDEA 01”, the stirring ballad that welcomes us to this new IDLES era, is a minimal and murky intro to an album that is brimming with lofty ideas turned reality. This album is far less chaotic than their past releases, allowing them to access a more mature and experimental sound than ever before. By toning down their screeching vocals and hectic arrangements, we are introduced to a more artsy side of IDLES that never ceases to grow throughout the album’s runtime. While toying with their creativity, the band leaves a trail of breadcrumbs to the old IDLES by finding that majestic middle ground between innovation and starting anew. They allow the album to reach fever pitches like the groovy single “Dancer” and the nostalgic “Hall & Oates” only for gorgeous tunes like “A Gospel” and “Roy” to come in and calm things down.
IDLES does not second guess a moment on TANGK. While they do inject moments of their past releases into their ambition, they never abandon their mission to find a whole new universe to explore. The album is more positive than anything IDLES has done in their career, fighting the same powers-that-be as they did on past projects but using a different kind of ammunition; love. The fierceness IDLES coined is still present in the murky arrangements and powerful guitar chords, but the lyrics of this LP tell another story.
TANGK is IDLES’ greatest and most ambitious album to date. These songs do far more than add another successful album to the band’s discography, it completely separates them from their peers. Their jaw-dropping risks paid off tremendously as IDLES sound as comfortable delivering messages of gratitude over minimal arrangements as they do shouting over chaotic post-punk tropes. This is a rare case of creative ambition growing at the same rate as commercial and critical success. IDLES achieved something monumental here. TANGK is an artsy outing that is polished and honed while refusing to stay complacent and neat, their range as a band now seems limitless as IDLES release the riskiest and most rewarding music of their career.
