Crawler by Idles | Album Review
The Bristol-punk titans tone down the aggression and begin to look inwards on their latest album
Just over a year after the release of Ultra Mono, the Brit-punk group Idles returns with their latest album CRAWLER. In the last 6 years or so, Idles has made a name for themselves with their raw, unfiltered take on punk rock, harkening back to the genre’s heyday of the 1970s. However, their biggest feat is the way they weave their stance on social issues through their music, using their songs as anthems to educate listeners, like examining and destroying toxic masculinity (something I talked about a few months prior).
So naturally, CRAWLER, much like the band’s other albums, speaks on aspects that the band finds important to discuss but instead of pointing their fingers at everything outside, they point inwards and look deeply into themselves. Top that off with a tonal shift away from their aggressive roots, and you’ve got what might just be the most vulnerable album the band has ever produced.
What initially drew my attention to CRAWLER was the fact that hip-hop producer Kenny Beats would be heavily involved with the production. Kenny has already become a household name in rap, so seeing him expand into punk rock was sure to be an interesting choice, and it’s certainly an earnest one. His inclusion takes Idles in a different direction sonically, away from the traditional formula they followed on their last 3 albums.
CRAWLER is much more minimal in its production, muted synths envelop the ominous opener “MTT 420 RR”, a contrast from their usual opening tracks filled with blaring guitars and blasting drums. Meanwhile, bass-driven songs like “When The Lights Come On” take cues from the works of Joy Division for their simplicity. There is also a fair amount of experimentation showcased throughout, “Car Crash” is built on warbling guitars and a pounding snare. The riffs are so out of tune that it makes the whole song feel tense and uncomfortable. “Progress” is a glitched-out, digitized ballad that takes Idles out of their comfort zone entirely.
It’s evident that Idles wanted to push themselves further and take even more risks, but unfortunately, they fall back into the same post-punk formula on a handful of tracks like on “King Snake” or “Wizz”. It’s like they’ve just scratched the surface, but CRAWLER is evidence that the band could push their sound a bit more on future releases.
Lyrically, the album is centered solely on lead singer Joe Talbot and his struggles with alcohol addiction. Talbot has always been candid and deeply honest about external issues he feels passionate about, and now for the first time, we get to hear the feelings he was faced with internally. Starting off his journey to recovery by visualizing a car crash on “MTT 420 RR”, Joe builds tension and sets the scene with lines like: (“The swell of heaven on my dashboard, I can see my spinal cord rip high”). He’s weak, vulnerable, and on the verge of dying.
Joe envisions the notion of addiction as a cycle or a wheel that keeps on spinning on the cleverly named “The Wheel”. Harkening back to his childhood when he would witness his late mother drown herself in booze, and realizing how the wheel keeps on turning from generation to generation. Joe attempts to dance his problems away on “When The Lights Come On”, he wants to keep the night going so he doesn’t have to face his harsh reality.
Idles still finds time to get a bit political, as is the case with “The New Sensation”. The band takes a stab at UK politician Rishi Sunak, who suggested those in the arts should consider getting a new job, which the band mocks(“So you wanna retrain now? Jumping from the left to the right brain now?”).
Going back to the album’s main theme, Joe convinces listeners that he’s doing fine in spite of it all, he barks and howls like a dog throughout the chorus of “Crawl!” (“God damn I’m feeling good! Said the liar to the congregation”.), a sign that whatever he’s put himself through is unhealthy and he’s aware of that. “Meds” begins his journey to recovery as the mantra “medicate, meditate, medicate” is repeated throughout.
At the center of it all is “The Beachland Ballroom”, it seems like the entire album was built around this ballad. Joe expands his voice and belts his heart out throughout the song, he’s on his knees as he struggles to overcome his addiction. It’s a powerful track that embodies Talbot and speaks to those who are desperately trying to change their life for the better, as he sings: (“Soon as the rush went away, I need not look for a way. Damage! Damage! Damage!”). Joe looks in the mirror as he realizes how self-destructive his behavior is, coming to the realization that he hates being high on “Progress”.
“The End” concludes the journey of CRAWLER. Joe and the band have come out from this dark slump, and are grateful for the life they’ve lived. As repeated throughout the song “in spite of it all, life is beautiful”. It’s a fitting end to the album, at the end of this long and oftentimes scary struggle of introspection, there’s a door that opens to a clearer and brighter future.
To be this open and vulnerable about internal struggles is what makes CRAWLER so great. The band’s choice to work with Kenny Beats and tone down the aggression a bit in favor of more experimentation works well with the album’s themes. While there are a few kinks that hold the album back, it most definitely illustrates what Idles is capable of if they do decide to push their sound even further.
Overall, CRAWLER gets an 8/10. This was a great album through and through. Joe’s honesty about his addiction is equal parts beautiful and brutal, and for him to make that the epicenter of the album is an effort very few artists can accomplish. The production here is much more nuanced than any other Idles album and sets the stage for where the band could go next.
Favourite Tracks: MTT 420 RR, The Wheel, When The Lights Come On, Car Crash, The New Sensation, The Beachland Ballroom, The End
Stream CRAWLER by Idles below.
