Album Review: IAN – Come On Everybody, Let’s Do Nothing! (Human Worth)

IAN, the East London based post-rock/metal quintet will be releasing their debut album ‘Come On Everybody, Let’s Do Nothing!’ on vinyl and digital via independent label Human Worth on October 17th, 2025.

Throw in a little bit of drone, a dash of post, a dollop of noise, and a heap load of experimental rock and metal heaviness, and you kind of get IAN and this album. A five-track exploration of ugly, addictive, and vibrant sounds. Damn near indescribable, except that IAN’s ability to shine a light in the murky darkness gives the listener something to grab hold of. A sense of direction, and with that in place, a different kind of exploration can take place. One that is all about creating a deeper and more meaningful connection through expressive genre-bending styles.

It’s not for everyone, but everyone that does give it a go will find themselves charmed by it.

I’ll try and give you a bit more of a breakdown here, but be warned, there’s no talking about this album without delving into hyperbolic and dramatic use of words. The way in which each of the five tracks plays out, encourages it, and IAN as an entity seems to revel in it.

We begin with Manuel and the first word that comes to mind is noise. A cacophony of heavy instruments, doomy and dirty in nature, and screeched vocals that are barely discernible. Noise created out of chaos, and then like magic, it transforms into something moody and subtle, before the soaring sound of a cello dominates and it ends up in more recognisable post territory by the end. Albeit with an explosive return to the chaos that embodied the start.

Talk about IAN taking us to the highest of highs and the lowest of lows in one track alone.

Although there’s something to be said about the middle, where everything is just alright. A vibe that doesn’t exist with the worrisome ambience of Building Pyramids, a track that builds and builds, and then builds some more, until eventually, things snap, and we get a dramatic and dynamic explosion of heaviness. I’d say it was them at their heaviest, but Fennel is the most ‘metalised’ track of the five. However, before we reach that point, be prepared to be dragged around like you’re in the jaws of an alligator come the end of Building Pyramids.

Right, Fennel. Kicking ass from the start with screamed vocals and instrument hit like they owe IAN some serious money. It’s got a violent streak running through it, pushing the post in different directions, but expanding on what that means as it goes on. It’s a spectacular listen, but so is Selma. Albeit from a totally different angle, as the cello dominates for ages and the melody is downright mournful. It’s one of many moments where the world ‘cinematic’ comes to mind, even if it transforms in beastly fashion around the halfway mark.

Another place it definitely comes to mind is during the finale of Not Erotic / Cop Film (End Credits). The epic of the album, which might sound a bit silly, until you hear it yourself. Not only is it the most textured track on the album, but it’s also got some of the most creative twist and turns. It’s downright beautiful, showcasing a delicate touch, and even though this develops into so much more, the inherent beauty is never lost. It’s an absolute treat of a track, and exceptionally powerful.

Charmed yet?

IAN – Come On Everybody, Let’s Do Nothing! Track Listing:

1. Manuel
2. Building Pyramids
3. Fennel
4. Selma
5. Not Erotic / Cop Film (End Credits)

Links

Bandcamp | Instagram | Human Worth