IDLEWILD: 'Post Electric Blues' (Self-released)
If ever any proof were needed that there is no justice in the world, one need only look to the story of Scotland's Idlewild, a band who have been slaving away for the better part of twelve years, consistently producing powerfully addictive, lyrically intriguing music, and receiving barely any recognition for it. Aside from a brief period in 2002, when 'The Remote Part' produced a top ten single and the zeitgeist touted them as 'the next R.E.M.' (a statement that subsequently fell on deaf ears), Roddy Woomble's band of merry men have been largely ignored by both the general public and the industry itself, leading to the crushing ignominy earlier this year of having Edith Bowman (Edith Bowman!) actually explain to the viewing audience who the band are as she introduced their T in the Park set, as if they were some fresh-faced young up-and-comers. Idlewild have years and years of experience on the majority of the acts currently plastered all over the pages of NME and they're a darn sight better than most of 'em too.
The reasons for their lack of success are undoubtedly manifold; timing, periods of absence, record company difficulties and all sorts of other concerns probably united to conspire against the band but, really, it matters little. Everyone gets their just deserts eventually and the best Idlewild can do is persevere, safe in the knowledge that they continue to produce wonderfully gorgeous music. 'Post Electric Blues', as is to be expected, is yet another accomplished record, although we certainly all had our doubts when the title was first announced. Fortunately, Roddy hasn't embraced the suffocating ennui of electropop or electroclash or whatever the hell it is that you should call the God-awful synth obsessed trollop that currently passes for indie music. No, 'Post-Electric Blues' refers to the comedown after the misguided euphoria of the electro movement, discussing the question of where such dalliances have left us, which way we can now turn. There is a song to match the moniker, a slow-burning stomper with the sort of lit theory laden lyrics that made 'These Wooden Ideas' such a charmer.
Thankfully, Idlewild tend to stick to what they do best, marrying larger-than-life hooks with glitzy, punchy guitar pop. 'Post Electric' owes more to 'Warnings/Promises' than previous release 'Make Another World'; its palate is less immediate and sonically intense, embracing the folky introspection of Woomble's solo work as much as providing guiltless rock thrills, but this only makes the album that much more interesting. Rod's wonderful guitar stabs are often accompanied by tinkles on the ivories, as in the lovely 'City Hall', there are experiments with brass and unusual percussion, elements that make lead single 'Readers and Writers' such a joy, and there is female vocal accompaniment, provided by the effortlessly talented Heidi Talbot, which adds a fresh dimension to the band's sound. She accentuates the power of wistful ballad 'Take Me Back to the Islands' but, perhaps more impressively, actually manages to make something glorious out of a series of 'la la la's, which is all she provides on 'Younger than America', the album's superlatively anthemic opener. Somehow, her minuscule contribution seems gargantuan, giving the track a sort of rapturous feel that sends shivers down the spine.
Interestingly, this is a decidedly summery album. The hooks and melodies, as well as the guitars and Rod's wonderful solos (the underscore to 'Dreams of Nothing' is of particular note) have a pleasantly jangly feeling to them, and even the ballads feel more celebratory and sun-drenched than melancholic. '(The Night) Will Bring You Back to Life' is just beautiful, working a simple, yet considerably wise, lyric around a completely straightforward bout of acoustic plucking. Idlewild have proven themselves as masters of the slow-mover through earlier material: 'Quiet Crown', 'The Bronze Medal', 'Not Just Sometimes but Always', 'American English' and countless others are some of the most moving ballads to ever worm their way out of a recording studio, and those on 'Post Electric' hold up just as well against their companions.
Regrettably, the album does seem to become a little less distinct towards its closing moments. For all its musical adventurousness, 'Circles in Stars', fittingly, just seems to go round in circles, never finding a melody, and 'To Be Forgotten', even more fittingly, quickly fades from the memory, feeling somewhat frustratingly like Idlewild-by-numbers. Perhaps, like 'Warnings/Promises' before it, 'Post Electric Blues' could do with trimming the fat, shaving off a couple of tracks - the band seemed to learn their lesson with 'Make Another World' which, at a meagre ten blisteringly intense tracks, packed if not a more powerful punch, then definitely a better aimed one. Still, such criticism doesn't negate the beauty of the remainder of the record. While this is no 'Remote Part' and it certainly doesn't reach the giddy heights of '100 Broken Windows' (how could it? How do you top one of the best albums ever written?), 'Post Electric Blues' is still a thoroughly addictive record, loaded with bright, bold melodies and sun-drenched guitars. Once again, Idlewild prove that they can pretty much do no wrong. Now all the world needs to do is wake up out of its self-obsessed electroclash slumber and realise it. (8/10)
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