IDLES -- Ultra Mono: Review

IDLES -- Ultra Mono

[Partisan]

Mono: a quick google search or a few years of a dead Romance language will teach you that the prefix ‘mono-’ means ‘one, only, single’ (Dictionary.com). On Ultra Mono, IDLES seeks to singularize their sound and concentrate their behemoth energy into tighter and more consistent tracks. Guitarist Kevin Cole said on KEXP “We wanted to really streamline everything down, and kinda get it down to, like, its most essential form, and then work off everything from that.”

On Ultra Mono, IDLES manages to wrangle its wild punk rock energy and fiery political dialogue into its most consistent, streamlined record yet. IDLES is no stranger to confronting a bleak political landscape and this newest record is a timely addition to their already strong neo-punk catalog. Unlike its two records before it, IDLES cuts the fat in Ultra Mono, shying away from nuanced metaphors and aiming to scream its message more unapologetically then ever.

However, this is absolutely no downgrade from their last two records. While Joy as an Act of Resistance and Brutalism were exercises in songwriting and performance prowess, Ultra Mono furthers their sound by presenting it in its most essential ingredients. The band masterfully displays their most controlled sound yet all while making space to add in some spice outside of the punk genre entirely. With hip-hop scientist Kenny Beats in the mix, Ultra Mono also happens to be the band’s most inventive album as well, infusing hip hop into their wild sound.

When it comes to genres, IDLES is a bit of a contrarian chameleon. Despite its music, vocals, and aesthetic all screaming ‘punk’ to the highest degree, IDLES lead singer Joe Talbot outwardly rejects the punk genre label. Talbot argues on “I just think using punk as an adjective is a f****** insult to blues, to calypso, to reggae, to everything that came before punk that was the epitome of what subversive art in the face of adversity really truly is. Whereas it isn't ... Didn't start in 1975” (MSN).

He’s totally right. Punk was originally an extension on subversive contemporary music that started from marginalized artists way before the scene, only in 1975, a handful of white kids looked outside of their own perspective and thought ‘Hey, maybe we’re not the victims here’. Not to discredit the punk genre (it’s one of my favorites) but his point holds up nowhere more in their discography than with this newest record, bending genres and representing a unique sound in 21st century protest music.

Ultra Mono kicks off with “War” a bloodcurdling wild anti-war anthem. It starts with an explosive drum beat over this dirty driving bassline. The distant screeching guitars wail like sirens above Talbot’s onomatopoeic lyrics where he yells the sounds of brutal war imagery. The dissonant guitars paired with the wild drums and the vile lyrics make it IDLES’ best album opener yet and one of my favorite songs this year hands down.

“Grounds” is guided by this chasmic kick-snare pattern that rings like a battle chant for this epic anthem of assembly. The song’s synth lead in the bridge makes it feel kinetic and foreboding like a crowd of approaching protesters. The confident screams of “I am I! Unify!” make it an energetic proactive anthem. “Kill Them With Kindness” plays a goofier tone in its lyrics, chanting exactly what the title says. The song has this post-punky descending riff that brings IDLES to the funkiest space it’s been yet. The message is less of just asking nicely for change but instead of civil disobedience, and fighting for what you love with a smile on your face. “Model Village” is probably the grooviest song on the record. It takes on the rigid social structures of small town living by mocking its rigidity in the bridge and refrains and spitting in its face in the chorus. This song reaches “Danny Nedelko” levels of catchy and fits as one of the band’s leading singles.

“Ne Touche Pas Moi” is declaration of war against catcallers and rape culture featuring Jehnny Beth of Savages fame who chants the title in between Talbot’s screams of “This is your dance space!” and “CONSENT! CONSENT! CONSENT!” “Reigns” is a class-conscious open letter to the upper class, forcing them to confront their neglect to the working class and their consistent effort to scrape off the profits from blue collar workers. The sharp bassline, tied together with the rudimentary drums make it feel like a hardcore punk interpolation of a techno song. Talbot echoes IDLES’ whole message on “The Lover” where he weaponizes his empathy against the powers that be and declares his love for his people. His unapologetic delivery and the explosive instrumentation surrounding it make it one of the most powerful tracks here.

The spiritual closer “A Hymn” is the only slow burner on the album but doesn’t beat around the bush like any of the other songs either. The song builds over this reserved chord progression that makes it feel like a brutal confrontation with sadness after everything that’s happened over the album. Talbot’s reluctant whimpers of “I wanna be loved, everybody does” are some of the best vocals on any IDLES song yet, and coupled with the instrumentation, this song is one of IDLES’ most emotional songs as well.

“Danke” closes out the record with a bang with another groovy guitar line that contrasts against wailing dissonance and haunting drums. Talbot calls back to a Daniel Johnston song of the same name, telling DIY Magazine that this song is “one of the most beautiful songs ever written”: “True love will find you in the end, you will find out who was just your friend”. Like the ending of a Beatles record, it ends with this sweet sentiment and then calls back to action in its final stage: “I'll be your hammer, I'll be your nail, I'll be the house that allows you to fail… I AM I!”.

IDLES’ newest Ultra Mono shows the band’s most consistent and raw sound yet, fusing more genre elements than ever to make it seem like their work will only get better from here.

RIYL: Parquet Courts, Fontaines D.C., Viagra Boys

Listen To: “Grounds”, “A Hymn”, “War”