2024-03-20 17:22:58
The transition album Crawlit was an impressive promise regarding the rapid development that Idles completed since 2017. But the very exciting decision can be made regarding the successor Tangk to have Nigel Godrich and Kenny Beats produced, guarantee compliance?
In short: no.
The fifth studio album as a whole is ultimately too half-baked, aimless work full of minor flaws, which often doesn’t seem to be sure what it actually wants to do outside of its experimental ambitions. Because it is too serious that Joe Talbot has grown enormously vocally, and Idles have become much better, open-minded musicians in general, while the input of the two unconventionally chosen producers ensures exciting new horizons – but the British band is only partially more convincing in the songwriting sector: many numbers meander around a central idea, but do not develop anywhere , prefer to explore the mood rather than be musically plot-driven and therefore work best through an atmospheric appeal Idles have not yet been able to produce this.
Or using the example of Roy clarifies: the tight percussion exemplarily supports the low-hanging bass, the tensely scraping Tarantino strings of the guitar install the pre-chorus and shimmer in a psychedelic swaying manner in the chorus, but this also leaves the question open as to whether Idles Whether you want to rock or not – instead the band hangs between the ropes in a great atmosphere, unable to find a synergy between sound and attitude.
As guitarist and co-producer Bowen tells it: “Godrich taught us how to use tape loops, distortion and delay in new ways to create textures.“Completely understandable, correct and symptomatic, in several ways (both positive and negative).
Just when Tangk If they want to serve their traditional punk clientele as a solidarity with their own past, this doesn’t work at all and the band makes blatant compromises without inspiration: Gift Horse (a straight-up post-simplicism that, absolutely annoyingly, has no fire at all, based on the in-house play-it-safe formula) is just as frustratingly boring as the solid run-of-the-mill garage finger exercise Hall & Oates, because both numbers follow the path of least resistance and are therefore simply regressively disruptive in the context. The only thing that is even more disappointing is this LCD Soundsystem-Cooperation Dancerwhich makes you have a danceable party in the solid verse, but releases no energy at all and tries far too hard to create an absolutely underwhelming singalong chorus: What an unexpected nonsense – which can perhaps at least convince live?
And yet all in all, the band’s calculations work out, because even though the album seems sobering at first contact, it develops into a grower with every pass (the three failures of which you can remove or at least separate yourself, at least when you consume it digitally). .
The subdued, throbbing sea of pianos IDEA 01 opens up dystopian tensions beyond in dark melancholy Daydreaming uplifting and commits to a dramatic elegy and grace before POP POP POP the action on the skeletal rhythm framework as a common thread with out-of-phase booming electronics Kenny Beats-Hip Hop is thinning out. In A Gospel the piano burbles in a wistfully dreamy fantasy, whose delightfully subtle string arrangements give a vague sense of how important Godrich was to Radiohead is. With its fidgeting drums in contrast to the melodic contemplation, it unites Grace a subversive frontality to postpunk meditation with merch catchphrase mantra: “No god, no king/ I said, love is the thing“.
Jungle rumbles mutedly, shaking in an inclined position, accepts a bit of jingling drama at the back as a resolution, and Gratitude In the chorus, the abyss is exceptionally drawn into the rock, before the sedative trance Monolith clears the fog for a sax finale. The starting point for album number six is the same as before, continuing the evolution following the Übertang Tangk: Idles are a less complete band than they used to be Joy as an Act of Resistancetimes, but a more interesting one.
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