Christ I fucking hate that phrase more than any other on the internet. I pretty much ignore anything anyone says after they use that. Happily now ignoring Sleaford Mods too. Twats.
Opposite for me, Clive.
(That aside, I still dig Idles and I still dig Sleaford Mods.)
It was disappointing, SM don’t usually resort to talking gammonese. It seemed a really half arsed attempt to manufacture a rivalry to publicise their new EP, it’s petered out very quickly.
On IDLES though the JAAAOR lyrics may be hit and miss, the first four tracks or so certainly sound fantastic. Such incredibly intense, loud, precision tooled drumming etc, not a million miles away from classic thrash metal.
Not sure that’s how music works tbh, just trying to imagine how much worse the lyrics would be with these suggestions
Didn’t take long to get to ‘Idles should stay in their lane cause they’re all white boys’ did it? Theres a massive problem with visibility in the industry for women and POC making really great music, but the solution to that isn’t to trash other anti-racism, anti-sexism, pro-LGBT bands is it?
Damned if you do. Damned if you don’t.
The drumming is what makes me love their music, with a more mediocre drummer i think they wouldn’t have got as big as they have. Reminds me a bit of monotonix a bit.
This is incredible
The lyrics are fine. They’re simple and I think that’s the point.
True that, they do come off a lot better when they’re doing straight to the point, hearty, pro social unity stuff than their slightly wonky pop culture references which come across as a bit too “The Mighty Boosh was 12 years ago*”
- Yes, I know this itself is a slightly wonky pop culture references.
Well yeah I don’t want to pressure IDLES into doing such things, as that’s not their raison d’etre. I don’t want to pressure any band into doing such things, as we’d end up with a million albums rewriting Know Your Enemy. I just get a bit suspicious of contemporary bands jumping onto woke/progressive/left-wing trends because as much as I respect and support most of that, I can’t help thinking some artists pretend to care about things like, say, male mental health, LGBT rights, refugee rights, than they actually do because their label told them to as in 2018, there’s always a pot of gold at exploiting the zeitgeist.
But this isn’t anything against IDLES as they actually have genuinely experienced stuff that fuels their genuine passions to create what they do, and often do it well. I might like rather than love their music but great bunch of lads, I can just be a paranoid crank for the sake of it about popular new bands.
Are they particularly privileged white men though? Sleaford Mods kinda accused them of being little rich boys whose daddy got them a record deal. Which might well be utter bollocks and SM are just being salty old men for clickbait. After all, I can take you round parts of Burnley, Blackburn and Accy where white males don’t have any privilege to check.
Yeah think that theory is bollocks, they were a band for years (like since the early 2010s) before they did anything of note. Of the bands I know who have family/friends with connections they always cash those in early as possible.
they’re still a band who sound like other stuff i like but somehow not appealing to me in the same way, but this one grabbed me a bit more than the first album did
musically it’s pretty up my street and it sounds quite powerful on the ones where he sings earnestly. when he goes back to more spoken delivery i still just find him a bit irritating.
maybe i just hate english accents
good that that’s not what’s happening then
im not saying idles should give up, im saying its weird that more is being written about them than other, more interesting bands who are saying the same things more articulately, who also happen to not be made up of four straight white men. interesting isnt it
Again though, which bands? After pressing earlier the only example anyone brought up was Petrol Girls, whose first album got as much press as Idles’ first. Since then Idles have toured constantly and released a second album (on a label that has had a few crossover records recently) that has seen them explode.