vinylfanatics.com

**IDLES - Ultra Mono**
★★★★☆

If you thought Bristol's most gloriously unhinged post-punk outfit had already reached peak intensity with 2018's masterpiece "Joy as an Act of Resistance," then buckle up, because IDLES came roaring back in 2020 with "Ultra Mono" – a sonic sledgehammer wrapped in working-class poetry that somehow manages to be both their most accessible and most uncompromising album to date.

Following the critical acclaim and commercial breakthrough of "Joy as an Act of Resistance" – which rightfully stands as their magnum opus with its perfect balance of vulnerability and venom – the quintet found themselves in unfamiliar territory: expectations. Their debut "Brutalism" had been a raw, cathartic howl from the underground, but "Joy" catapulted them into festival headliner status and think-piece territory. The pressure to deliver something equally impactful could have crushed a lesser band, but IDLES being IDLES, they responded by cranking everything up to eleven and diving headfirst into the political and personal maelstrom of 2020.

"Ultra Mono" finds the band – Joe Talbot's barked manifestos, Mark Bowen and Lee Kiernan's guitar assault, Adam Devonshire's thunderous bass, and Jon Beavis's relentless drumming – operating as a tighter, more focused unit than ever before. Produced by Nick Launay (Yeah Yeah Yeahs, Nick Cave), the album strips away some of the experimental flourishes of its predecessor in favor of a more direct, punishing approach that feels like being cornered by the most articulate football hooligan in history.

The album explodes out of the gate with "War," a two-minute blast of pure adrenaline that sets the template: pummeling rhythms, buzzsaw guitars, and Talbot's increasingly confident vocal delivery tackling everything from toxic masculinity to media manipulation. It's IDLES distilled to their essence – righteous anger channeled through irresistible hooks. "Grounds" follows with one of their most anthemic choruses, building from a menacing crawl to a euphoric release that feels like a crowd of thousands singing along even when you're listening alone in your bedroom.

The album's crown jewel is undoubtedly "Model Village," a scathing takedown of suburban complacency that manages to be both brutally funny and genuinely unsettling. Over a hypnotic, almost krautrock-influenced groove, Talbot paints a picture of middle England that's equal parts "Hot Fuzz" and "The Wicker Man." It's the kind of song that makes you want to both dance and start a revolution – peak IDLES territory. "Ne Touche Pas Moi" brings unexpected tenderness to the proceedings, with Talbot switching between English and French as he processes trauma and healing over the band's most restrained instrumental performance.

"A Hymn," meanwhile, showcases the band's growing confidence in their quieter moments, building from whispered confessions to a triumphant finale that feels genuinely spiritual. And closer "Danke" serves as both a love letter to their fans and a mission statement for the band's continued evolution, featuring guest vocals from Jehnny Beth that add an extra layer of intensity to an already overwhelming finale.

Musically, "Ultra Mono" sees IDLES refining their signature blend of post-punk aggression, hardcore intensity, and unexpected pop sensibilities. While they've never been virtuosos in the traditional sense, their power lies in their ability to make simplicity feel revolutionary. The guitar work is more varied than ever, incorporating everything from noise rock dissonance to almost danceable grooves, while the rhythm section provides an unshakeable foundation that could probably level buildings.

Four years on, "Ultra Mono" has proven to be a crucial bridge in IDLES' evolution. While it may not have quite the raw emotional impact of "Joy as an Act of Resistance" or the scrappy charm of "Brutalism," it solidified their position as one of Britain's most important contemporary rock bands. Their subsequent album, 2021's "Crawler," would see them exploring even more experimental territory, but "Ultra Mono" remains their most focused statement of intent – a band at the height of their powers, unafraid to stare into the abyss of modern Britain and somehow find reasons to keep fighting. In an era of manufactured outrage and performative