Home » IDLES, review of TANGK in Mondo Sonoro (2024)

IDLES, review of TANGK in Mondo Sonoro (2024)

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IDLES, review of TANGK in Mondo Sonoro (2024)

It’s funny how the perception of an artistic work changes. For one of its creators, Mark Bowen, the splendid fourth album by the Bristol band “Crawler” It had its deficiencies, precisely because it had “unfinished” things. It’s something that Idles They have tried to remedy this in a fifth work in which they combine containment, sound experimentation and more “melodic information”, with the help of expert producer Nigel Godrich (Radiohead). The results range from dazzling to discreet.

“THE TANGK” is a made-up word that refers to a reboot with no known references. Once the visceral cathartic journey that they proposed in “Crawler”, It’s time to start again adding nuances to the vitality they have always shown. Mark Bowen’s alliance with the person responsible for Radiohead’s sound aesthetics is a statement of intent. Relaxed tempos and atmospheres dominate in an album that, although it has some powerful singles like “Grace” (also at lower revs), it works a little jerkily.

And it seems normal that at a purely sonic level it sounds tremendous, from the bass drum itself. “IDEA01” and its ghostly piano so (sorry) Radiohead, to the drum beat and the fierce chorus of “Gift Horse”, that takes us into spartan familiar terrain, only with the touch of sophistication that Godrich incorporates. “POP POP POP” takes the influence of hip-hop to another level, and “Roy” It slows down from a simplicity that rises in disheveled choruses that evoke musical glories of the fifties. “A Gospel” is probably the most introspective version of the quintet.

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“Dancer”, with its punk funk chorus and the voices of James Murphy and Nancy Whang, it is a very drinkable single that anticipates “Grace”, the best song, with that heavy restraint that opens with the challenging litany of “No God, no king, love is the thing…”. The punk filth of “Hall & Oates” It does not go beyond the anecdotal, and “Jungle” combines an understated riff with an overtly melodramatic chorus. We are left with the spartan robustness of the bass and the tension of “Gratitude”, whose acceleration gives it a lot of life. “Monolith” puts a delicate epilogue, with a few seconds of saxophone.

The deployment of “THE TANGK” It works at times, but coming from the inspiration of “Crawler” and its visceral inspiration falls a little short for me. I suppose it’s inevitable when one undertakes their fifth album after having touched the sky. There is no doubt, however, that several of the cuts on this album will make the British’s devastating live performance an even richer experience.

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