All is love in lyricism and production as Bristol-based IDLES are back, and more loved up than ever in their highly anticipated fifth album, TANGK, released 16 February 2024. Apt timing – two days after Valentine’s Day – society is already hot and floaty, and then IDLES hit us in the face with “ particles of punch drunk love,” to quote their disco-infused hit ‘Dancer,’ that is placed centre-stage to their latest album.
Idea 01 gently eases us into the collection of love songs in a sonorously beautiful way. A percussion of rhythmic drums, tinkling akin to tubular bells, eerie pianos, and distorted melodies lead us to Talbot’s gorgeously sad lyricism of love and loss. There are sonic reminders of Arcade Fire and Radiohead permeating through TANGK, notably within ‘Idea 01,’ ‘A Gospel,’ and ‘Monolith’ – not surprising upon finding out that Nigel Godrich (a production king, who has over the years helped bring those bands, any many more to life) co-produced this album to its dangerously romantic heights – thank you, Nige.
‘Gift Horse’ and ‘POP POP POP’ remind us that IDLES remain true to their rock music hearts with Talbot’s heady screams, and the band’s clashing instruments, whilst squeezing every inch of gratitude and love they can out of themselves, and into this album. Talbot’s unconditional love for his baby daughter is evident through ‘Gift Horse’ particularly, singing “My baby she so great / I wake up grateful every day / My baby is beautiful / All is love and love is all,” before swiftly screaming to “F*** the king” – and if that doesn’t sum up TANGK, I don’t know what does.
IDLES have always had a distinct ability to conjure vivid imagery using their staccato-esque, straight-to-the-point lyricism. This has grown in TANGK, and with it has the band’s poetic sensibilities. The fourth track, ‘Roy’, does this exquisitely. Behind catchy acoustics and distorted reverb, Talbot sings “If I choke out the sun / If I blister the hum / Will you breathe,” creating a visceral image of the power of emotions: namely, love. Both this and the next track, ‘A Gospel,’ is where I consider IDLES at their strongest, musically and emotionally. Poignant vulnerability, raw intensity, and an honest portrayal of the highs and lows of love are artfully considered within these songs that sit back to back, stroking the other with a hearty tickle.
Holding our hands and pulling us through to the end of the album is the penultimate track, ‘Gratitude’ – what I have read as a love letter to IDLES’ supporters; fans, family, record labels, producers, venues, the list goes on. The band’s collective cry to all those who have listened, loved, or hated is this, “That gratitude / Cuts through my veins / I hold my hands up / And I’m awake”. A mutually beneficial track, in that IDLES loudly make their gratitude known throughout the melodic ring of TANGK, and likewise listeners share these sentiments for Bristol’s heartiest who have successfully made their fifth album by tugging hard on their heartstrings.
In a beautiful and sensitive bookending of the album, ‘Monolith’ shares similarities in loudly gentle music that ‘Idea 01’ lit TANGK’s wick with. Throughout this album, IDLES have sprinkled their lyrics with imagery of royalty – namely through kings, and crowns. To a thematic endpoint, ‘Monolith’ concludes the story of these motifs as Talbot having found the king, seemingly wearing his crown: himself, and his band of brothers who have made their most poignant album to date.
The world needs love more than ever right now. IDLES saw that and wrote a love story.
Words by Emilia Cooke.
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