IDER - Shame

Vor zwei Jahren veröffentlichten IDER ihr Debütalbum „Emotional Education“ via Glassnote Records, einige Tage später konnte ich sie bei Down The Rabbit Hole Festival live sehen, wo sie mir deutlich besser gefielen als auf Platte.

Danach benötigten die beiden Freundinnen Megan Markwick und Lily Somerville wohl etwas Luftveränderung, trennten sich von ihrem Label, um sich kreativ besser entfalten zu können, und zogen nach Berlin, wo große Teile ihres zweiten Albums entstehen sollten: 

"We got there, and we got COVID four weeks later. We had three weeks of heaven where we wrote so much new music and it was everything we dreamed of, living that chaotic, no-routine lifestyle. We Thelma and Louised it back, because the messaging at the time was 'if you don’t come back to London now, you never will’.”

Sie schafften es nach London zurück, arbeiteten erst im Haus von Markwicks Eltern und dann in ihrer gemeinsamen Wohnung in Bethnal Green, die sie auch zu einem Studio umfunktionierten. Diesem DIY-Ansatz blieben IDER treu und veröffentlichten ihr zweites Album „Shame“ ohne Unterstützung eines Labels. Dem digitalen Release am 06. August wird eine physische Veröffentlichung als LP im Oktober folgen: hand numbered & signed, 12’’ 140g royal blue Vinyl, exclusive custom artwork design, produced in an eco-friendly plant using recycled and/or biodegradable materials & vegan inks.

Die 8 Songs von „Shame“ bieten synthetischen Up-To-Date-Pop, der sich thematisch mit Unsicherheiten und Frustrationen („obsessed“, „Knocked Up“) oder Frustrationen bezüglich der Musik-Industrie („BORED“) auseinandersetzen, und von dem eng verwobenen Harmoniegesang des Duos geprägt wird. 

 

Equally impressive is the voracity which with IDER seemingly tackle a range of personal topics with ease, taking in eating disorders and (potential) teenage pregnancy on “Knocked Up”, whilst “Midland’s Guilt” scrutinizes the sense of losing your identity. “Bored” sounds gloriously reminiscent of “Mirror” from the pair’s first album: big on harmonies, tempestuous vocals and a kick of distorted guitar for good measure. It’ll undoubtedly become a live favourite.

For an album that was complicated by an aborted move to Berlin and disbanding from their previous record label, the sense of overcoming adversity really shines through. It partly explains the ‘nothing-to-lose’ attitude on “Cbb to b sad” and the unashamed conflict evident on opener “Cross yourself”.

Talking about the record Markwick says “this is the strongest we’ve felt in terms of our identity, our confidence, in saying what we want to say, and it sounding how we want to sound.” Needless to say, Shame achieves all of this, advancing the boundaries of pop in the process. Fusing progressive big-beats, deeply personal lyricism and intelligent song-writing, it once again reveals IDER as the indispensable voices of a generation. Utterly compelling listening.

(The Line Of Best Fit)

  

But while the musical value of Shame may appear photogenic and laidback, there is a strong combative element; a ‘warts and all’ revelation. There’s hardly a grievance unaired on Obsessed, which asks every neurotic question necessary – “do I speak like you? Do you want me to?” – while millennial insecurities morph into waves crashing against rocks amidst a glinting, synth sky.

Fuckboys become the subject of half-raps on Knocked Up; a coming-of-age/become-of-age square-up to dodgy surroundings. Taking the edge where decisiveness is concerned, Bored resonates with the art of not giving a damn; a tell-all in confrontation as every chunk of music industry egomania translates to blahs in the ears of IDER. The best revenge is living well, proven by the hip, good-timey aloofness of the track.

(Indie Is Not A Genre)