IDLES’ debut record opens with a terrifying scream of “NO
SURRENDER!!!” from an unidentified female voice. It is unsettling and
instantaneously sets the listener up for a whirlwind experience of what is in
store for them on ‘Brutalism’. This is a record with the attitude of the punks
of the 1970s combined with the refined technical ability and performances of
the post-punkers that followed in the 1980s and it does so with expert
production quality that results in a sonic assault on the listener. The sheer aggression
and rawness involved in this album will turn some people away but if you stick
with it, you’ll be rewarded with an outstanding punk record that could also
double as the soundtrack to many a political protest, especially in the U.K.
This record is relentless in its infectious energy and in
the range of topics that are eviscerated by frontman Joe Talbot’s caustic wit.
This is a funny record, there’s no doubt about that. U.K. politics and the
Conservatives are given the middle finger on the groovy ‘Mother’ by humorously
explaining how to scare a Tory, the idea of people not understanding art and
culture is subtly lampooned on ‘Stendhal Syndrome’, and even Bake Off judge
Mary Berry gets a mention on the outrageously catchy and sarcastic ‘Well Done’,
something I certainly wasn’t expecting when I started listening to this record.
All of these funny, engaging lyrics are delivered with a
distinct, almost offended snarl by Talbot. You can hear in his voice that he
has complete disdain for some of the topics he sings about. This disdain is
evident in other tracks on the record when he swaps out the humour for biting
criticism of stuff he doesn’t like. The Conservatives are the main focus of
attack throughout the record but other more wide-reaching topics are explored
such as depression, religion, sexual identity, and sexual violence. Talbot’s
voice often acts as a rallying cry on these tracks and his observant lyricism
teamed with his angry, nasty delivery can very easily be a mantra for people to
follow, especially if they identify with the ideologies that are presented.
It’s almost as if Talbot is saying all the stuff you’ve wanted to say but never
actually had the guts to say it, and that resonates with the listener.
These superb lyrics would get nowhere however without good
music to back it up. Punchy performances and smooth production quality prevent
this from happening. Often times with punk records the musicality can be lost
to the explosive energy of the band but IDLES keep it tight and the production
highlights impressive instrumentation. On ‘Exeter’ the band slow it down with
the drummer taking centre stage. When he smacks the drum, you feel the sound go
through your body and as the track speeds up into a cacophony of flailing
guitars and brooding basslines, the drumming is still there taking its hold on
you and moving the track along with its pulsating rhythm. This may be their
debut record but this band knows their way around their instruments
Many of the tracks on ‘Brutalism’ feature the band providing
the soundtrack for Talbot to express his opinions onto the listener. This gets
the listener riled up because many of the topics covered will be relatable and
will have affected the listener in a negative way. This is genius from IDLES because those same tracks build and build until they descend into a whirling
dervish of noise and screaming from Talbot. It works as the perfect cathartic
release for the band and for the listener. This record imbues the listener with
the belief that they can fight the establishment, and it acts as a killer
soundtrack to boot. It’s really special this album and I can’t recommend it
enough.