Ibibio Sound Machine – ‘Pull the Rope’ album review

A decade on from their self-titled debut album, the London-based group show very few signs of fatigue, releasing their latest effort, Pull the Rope. There is often a danger, especially in dance-oriented music, that artists quickly start to repeat themselves. However, in the case of Ibibio Sound Machine, the band have always found new and interesting ways to reinvent themselves and breathe new life into their distinctive sound. On Pull the Rope, for instance, the group have taken their usual euphoric funk into a dark, industrial underground. While there is still plenty of colour and vibrancy, this new album also has a certain darkness to it – more like dancing in a sweaty club than outdoors at a summer festival.

Much of this new direction can be put down to the production of Ross Orton. Having worked for groups like The Fall, Arctic Monkeys and Amyl and the Sniffers, Orton’s influences are clear throughout Pull the Rope. While the record still sounds inarguably like an Ibibio Sound Machine album, there are certain touches and influences that can only come down to the Sheffield-based producer. Rather than making the album sound like a confused mess of eclectic influences, Orton is effectively able to add another layer to the complexities of the band’s sound without damaging their dance integrity. 

It is difficult to pick out a definitive highlight of the album, as there is so much happening all at once. PK Ambrose’s bass lines certainly stand out, particularly on tracks like ‘Far Away’, but ultimately, it is the vocal performances of Eno Williams that make the record so undeniable. Her voice feels particularly impactful on this album, perfectly adapting to the differing moods of each and every piece. It is almost as though Williams is a guiding voice in the darkness, offering a beacon of hope and joy in an increasingly hostile environment. At ten tracks, my only complaint is that the record doesn’t last longer.

For fans of: Spending hours in record stores searching for copies of obscure Afro-funk from the 1970s, then spending more time cleaning them and keeping them in anti-static sleeves than actually listening to them.

A concluding comment from Ben’s dad: “Reminds me of watching Top of the Pops back in the ’80s, when they’d have these dance bands on, and there’d be far too many people on stage, all dancing around a keyboard while Gary Davies looked on, confused.”

Pull the Rope track-by-track:

Release date: May 3rd | Producer: Ross Orton | Label: Merge

‘Pull the Rope’: Immediately establishing this bold new direction for the group, the opening track stands firmly among the best works Ibibio Sound Machine have ever recorded. [4.5/5]

‘Got to Be Who U Are’: Funky disco influences blend seamlessly with Afrobeat and retro acid house beats, a grand encapsulation of Ibibio Sound Machine as a whole. [4/5]

‘Fire’: The opening bars of this almost evoke a Fontaines D.C.-esque rock tune before erupting into the pounding dance rhythms we have come to expect from Ibibio Sound Machine. [5/5]

‘Them Say’: Slowing down the pace, this song provides an opportunity to focus on the utter beauty of Eno Williams’ vocals, largely uninterrupted. [4/5]

‘Political Incorrect’: The recurring lyric “anti-social media” is the kind of cliché you’d expect to hear a politician quip on Question Time. Nevertheless, if you can get past that lyric, this song is a solid, danceable anthem. [3/5]

‘Mama Say’: Undoubtedly one of the strongest efforts on this album, complete with an incredible vocal performance by Williams and an endlessly infectious synth riff to boot. [4.5/5]

‘Let My Yes Be Yes’: It’s unclear whether this song was meant to be a tribute to Jimmy Cliff and the classic reggae track ‘Let Your Yeah Be Yeah’, but if it is, then it is a fantastic one. The amalgamation of Ibibio Sound Machine’s eclectic influences come together to create something truly unique. [4.5/5]

‘Touch the Ceiling’: A chilled-out, ethereal piece which feels like a bit of an outlier in comparison to the rest of the record, which has thus far been characterised by industrial influences and dance beats. [3/5]

‘Far Away’: PK Ambrose’s bass has been a highlight throughout this record, but he is certainly at his best on this track. I would defy anyone to listen to this while sitting still. [3.5/5]

‘Dance in the Rain’: A solid effort to finish off the album, characterised by the addictive vocals of Williams and a retro-sounding synth beat reminiscent of Depeche Mode’s ‘New Life’. [4/5]

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