The opening moments of the album play out in familiar territory, from the explosive opener "War" to the panic attack-inducing "Anxiety," save for the sparse arrangement of "Grounds," which is either a bold new vector in the Idles formula or a slightly awkward step in the wrong direction. Around the midpoint is the contentious "Model Village," which drew concern over its apparent dig at village life and the far right -- U.K. cities have their fair share of right-wing characters, after all. Painting in such broad strokes goes against the band's inclusive ideology, bearing in mind that their early tours included many smaller venues outside of the cities. Then there are the guests, including Jamie Cullum, who provides a genuinely funny moment as his serene piano intro gets interrupted by the band crashing in on "Kill Them with Kindness," and the ever-electrifying Jehnny Beth adding extra venom on "Ne Touche Pas Moi." As for Warren Ellis, David Yow, and Kenny Beats, their presence is all but imperceptible, only decipherable via internet research. The inclusion of such heavy-hitters is easy to be cynical about; it's the equivalent of name-dropping but adding nothing to the conversation. Of all the singles, "A Hymn" was the most overlooked. Here, in the context of the album, it comes as welcome respite; dredged in tension and played seriously rather than comedically, it's a side of the band that deserves to be explored.
Idles deserve praise for their invigorating output, which avoids getting mired down by bleak outlooks, literary references, or overly poetic lyrics. Without applying any analysis, there is much to enjoy here; their raucous energy shines just as bright, but underneath the surface Ultra Mono lacks the sparkle that made their first two records truly special.
- Liam Martin - allmusic.com
