Here’s something a little different from the typical fare on the site so far. IDLES are a punk/post-punk/rock/hardcore band from Bristol in South West England. Whatever genre category they fall into, it has been a long time since a band has immediately caught my attention like IDLES has.
Their 2017 album Brutalism lives up to it’s title, and they followed up that acclaimed record with what is one of my favorite albums of the last 5 years in Joy as an Act of Resistance. On those two records, IDLES successfully blends aggression, insane levels of noise and energy with a knack for catchy choruses that make you want to dance. They are also a band that is not afraid to put their politics at the forefront of their songs. Toxic masculinity, racism, fascism, loss, depression, anxiety, sexual assault and feminism are all topics they have refused to shy away from.
This all brings us to their highly anticipated third album, Ultra Mono. Does it live up to the hype of those two previous records? In the end, I think it does come close, despite a few traits that may be considered to be flaws by some.
The album kicks off with “War.” In 2020 it may seem a little silly to write an anti-war anthem, since there are very few awful human beings left who actually pine for and enjoy war as an institution. However, that does not take anything away from the song itself. It is driving and propulsive, setting the tone for the rest of the album. Lead singer Joe Talbot’s performance shines, as he tribally voices out various sounds of war. “War” eventually sounds like it is about to fall apart at the seems, with incomprehensible screams throughout that lead into chants of “THIS MEANS WAR, ANTI-WAR, follows by a nasty drum fill. The dissonance and guitar feedback reach a fever pitch near the end of the track, but not before a relatively clean and catchy riff takes center stage. In addition to being a tone-setter, it also shows that the album cover will prove to be an accurate representation of what the music itself will do to you. It just smacks you in the face, rarely offering any reprieve.
“Grounds” is the first track where we get a bit of a curveball, with some pulsing synth leads at the start of the track. IDLES is generally a meat and potatoes kind of punk band, so this comes as a bit of a surprise. I would imagine that this is one of the songs that acclaimed American producer, and fellow 6’7 man Kenny Beats had a hand in programming. The bass and production overall does feel a bit like a hip-hop song. The song stands as a call for unity across gender, race and socioeconomic lines. “Do you hear that thunder?/ This is the sound of strength in numbers,” Talbot chants. It’s a plodding track, complete with an explosion of emotion with he chorus declaring, “I am I/ Unify.”
The third track “Mr. Motivator,” keeps the energy high with some willing guitar lines, and serves up a heaping helping of English sarcasm. In addition to exclaiming the listening to “seize the day/ all hold hands, chase the pricks away/ You can do it!,” we get some of the most absurd images you can imagine on a song. Here a few of my favorites:
“Like Connor McGregor with a samurai sword on rollerblades”
“Like Kathleen Hanna with bear claws grabbing Trump by the pussy”
“Like Flava Flav in the club on the back of John Wayne”
“Like David Attenborough clubbing seal clubbers with Lebron James”
In short, you can do anything!
“Anxiety” is about exactly what the title implies. The instrumentation itself gradually becomes more intense and unhinged, as if you are going through an anxiety attack yourself. The lyrics comment on the high price of drugs and therapy, which signify the lack of compassion governments and people really have for those going through such struggles. As someone who stopped going to therapy and getting medication for those exact reason, this song really does speak to me. It is another instance where the simple chorus of “I have anxiety/ It has go the best of me,” is very on the nose, but there’s no sense in mincing words when you can easily get your point across.
“Kill Them with Kindness,” features another great, animalistic performance by Talbot. He is literally barking at certain points, repeating the first syllable of a few words. Kindness and empathy, according to IDLES, is what the punk scene, and world at large, needs more of. The crunchy guitars and constant drums make this another song that while aggressive, is damn near danceable. It’s an unrelenting track in an album that shows no signs of letting up in terms of it’s aggression or it’s politics.
“Model Village” is my favorite song here. I wrote about it at length in one of my roundups a few weeks ago, so please feel free to go check that out!
“Ne Touche Pas Moi,” fits the endless aggression of the album so far, all while delivering a sentiment that a lot of guys who attend shows/concerts probably need to know: “Ne touch pas moi/ This is my dance space/ Ne touch pas moi/ This is your dance space/ Consent! Consent! Consent!” The declarations of consent and everyone’s body belonging to nobody but themselves are important. The delivery may again come off as simplistic to some, but in the end, these are messages that can’t be lost in some deep metaphor. Keep your hands off of someone unless they want you to touch them. It’s a very easy concept to understand, and yet so many still fail to. I for one, appreciate IDLES’ willingness to be so forward with that messaging.
“Carcinogenic” spends it’s time listing off the numerous things in culture that are held high, but only end up hurting those who partake in them (i.e. drugs, alcohol, things that harm the environment). They also include class division, income inequality and political corruption, as those are the very same things that prove to be carcinogenic, while perpetuating the tools that lower classes us to harm themselves.
“Reigns” is another undeniable highlight in the track list. It all revolves around a killer bass line with hits of distorted synth or bass popping in and out. Lyrically, it is the most simple here, with IDLES talking directly to those in power. “How does it feel to have blue blood coursing through your veins?” “How does it feel to have shanked the working classes into dust?” “How does it feel to have won the war that nobody wants?” The track explodes into the chorus of “pull on my reigns,” giving you an image of the reigns of a horse being pulled. This stands for the upper class pulling and ordering around those below them. “Reigns” ends up being a blistering critique of those who are willing to harm anyone to get what they want; to keep themselves in power. And they somehow find the strength to do it all with a smile on their face, claiming that this is how things must always be. IDLES, and a ton of people, would disagree with that bullshit.
“The Lover,” is a love song that only IDLES could write. It declares feeling blissful and comfortable around someone; Comfortable enough to say “fuck you, I’m a lover.” It’s a send off to anyone who’s jealous or skeptical of someone else ability to find true, real love. Talbot also finds time to get ahead of any criticism they may receive for their lyrics in “You say you don’t like my cliches/ Our sloganeering and our catchphrase,” before later thinking that he would love to serve as the “cater for the haters,” so they can “eat shit.” Some may, especially on this album, find those lyrics to be simple and even condescending, but Talbot clearly is not overly concerned with that, as he knows who his messages will resonate with.
Finally, with just two songs left, IDLES provides a respite of sorts. After a pummeling, demanding batch of songs, we get “A Hymn.” It may be a respite in terms of the music itself, but the heavy themes continue. This time, IDLES tackle ideas of loneliness, self-doubt, and the painful need for love and compassion. Talbot gives us a few situations in which someone clearly worked their asses off to achieve something, or to get to a certain point, leading to the declaration of “We made it/ We made it.” And yet, right after that, “Shame” follows. Even if you get what you thought you wanted, there are times where that self-doubt and depression creeps back in regardless. It’s another song that I think a ton of people can relate to. It’s a hopeless, horrible place to be, but I think it’s a place a lot of people find themselves more often than they may care to admit. This one will wrench at your heart. We all just want to be loved.
“Danke” closes the album out on a somewhat hectic note. We get the longest passage of instrumentation without any vocals from Talbot, as the tension and energy build over the first half of the song. He sings “True love will find you in the end/ You will find out just who was your friend,” as a tribute to the late singer Daniel Johnston. It is a positive, forward thinking end to the album, leaving you with the sense that you have the support and motivation to go out and accomplish your goals. It is some subject matter that may have been covered throughout the album, but it does feel like a nice release of emotion after the heavy contemplation of “A Hymn.”
In all honesty, I can’t say that this album surpasses what I consider to be their masterpiece in Joy as an Act of Resistance. But I do believe this album strikes a nerve given the socio-political climate of the world. It is brash, aggressive and right to the point. Themes that have always run rampant throughout society are the focal point, but those of inequality, racism, sexism, and hate seem to be at the forefront of everyone’s mind even more than normal.
Yes, to some, the lyrics are basic and may even come off as patronizing. However, if hearing straight to the point lyrics exclaiming “fuck you” to the people who perpetuate the inequality and awfulness of society offend you, or aren’t to your liking, then that probably says a lot more about you than it does IDLES or what they stand for. Abusers, racists and fascists deserve a whole lot more than being subjected to some lyrics that hurt their feelings. The simplicity also touches on the very roots of punk music, which was never concerned about offending someone, or allowing their messages to get lost in something that is so wordy and floral.
The thick, crunchy, oppressive production and the expressive, sometimes animalistic performances from Talbot and the rest of the band more than make up for whatever may be perceived as shortcomings. This is an exciting listen all the way through that is not concerned with being an easy listen, or one that holds your hand. It throws you into the pit from the very first second, rarely giving you time to breath. And it works to near perfection.
Overall, this album may fall just short of their previous record’s standards, but is by no means a disappointment. It acts as another above average to a discography that is already filled with one classic. It’s hard to believe that this may not receive the same praise in the long run, or that they will not continue this magnificent streak of high-quality music. IDLES hasn’t let me down so far.
If you are looking for something that is as aggressive and in your face as it is catchy and unabashed in it’s political sentiments, all while giving you a good bit of tongue-in-cheek humor, you’ll love the hell out of this album. Make sure to check out their two previous works if you need to scratch that punk itch even more!
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