Given the band’s raised voices, obtuse straightforwardness and punk-esque commentary on politics to date, releasing an album exclusively made up of love songs, on paper, seems absurd.
But this album does still carry the IDLES charm. The thumping latest single “Gift Horse” delivers the trademark IDLES thunder (particularly in the lyric “Fuck the king / he ain’t the King”), whilst simultaneously speaking about lead singer Joe Talbot’s daughter. Meanwhile, the theatrical “Dancer” and the driving “Hall & Oates” are tracks set to appease fans both old and new.
On an album about love, there naturally comes some melancholic moments. From the low swing of “Roy”, to the gentle whisper of “Grace” to the serene album closer “Monolith”, there are plenty of blissful, emotion-driven moments to cherish. Elsewhere, the swirling “POP POP POP” and the jagged “Jungle” are subtle highlights.
It is hard to sidestep that if any other band attempted this kind of experimentation and navigation away from what they are best known for, it would fall flat. But with IDLES, it undeniably works, as they lay down further testimonies to the fact that they are an insatiable part of the UK music tapestry. IDLES have always had people listen to them – two Grammy nominations, a critically acclaimed discography and ultimately a fanbase that is unlike anything a band of their ilk has – but TANGK adds something else to the conversation. A level of fragility that has not yet been displayed by IDLES, it is an album that swaps brash vocals with more tender notes. Love is the thing, and it seems like it is here to stay.
