Idlewild
Interview Music

The big return of Idlewild in 2015, after six long years of absence, positively surprised everyone a little.

Both the critics, who rightfully praised the beautiful “Everything Ever Written,” and the public, who rewarded the historic Scottish band with a return to the UK top 20. There was much curiosity, therefore, for the next step, which materializes today (after an additional four years) with this new “Interview Music.”

To tell the truth, Idlewild set out quite decisively, immediately starting work after the success of the previous album, but they opted to take the necessary time (in the meantime, there were celebrations for the anniversary of the masterpiece “The Remote Part”), and given the results, the choice was indeed spot-on.

Thanks also to the fundamental production contribution of Dave Eringa (a crucial return since he is the one who forged the sound of two key records in the band's discography like “100 Broken Windows” and the same “The Remote Part”), the new work is, in fact, their best creation in the past seventeen years.

A confirmed strength is the variety of styles already central to the previous release, but here both in terms of sound and songwriting, we see a further step forward; the band led by Roddy Woomble is indeed in top form, the guitar work by the brilliant Rod Jones is masterful, and everything fits perfectly. The definitive change of pace was already evident from the first two singles released: “Dream Variations,” also proposed as the opener, initially creates a classic Idlewild guitar/voice intertwine (with a sprinkle of Springsteen) which then evolves into a psychedelic tail, while the sharp “Same Things Twice” is the only nod of the album to the band's very early period.

There are no lacks of less direct and more complex episodes, as in the case of the title track (a much-appreciated homage to Dinosaur Jr in the sumptuous guitar tail), but for the rest, the quintet opts for more direct and immediate solutions, an absolutely winning choice. “Miracles” is a beautiful guitar pop sway, “Forever Now” pays homage to Teenage Funclub, just as “Bad Logic” brushes up on an old, great love of the band, namely R.E.M., while “There Is A Place For Everything” is an indie burst so fresh it seems to come from an emerging band.

The more intimate episodes flow well and almost seem like a slightly less polished version of some things by Death Cab For Cutie, and we also find a concession to stadium rock in the chorus of the potential single “All These Words.” Spectacular “Mount Analogue,” a britpop style exercise enhanced by a surprising trumpet.

“Lake Martinez” closes with an emotional piano and voice a record that is the sound of a reinvigorated band, enjoying themselves once more in presenting their music without setting limits. Finally, we find back to full capacity a fundamental part of the indie rock across the Channel.

Let's hope this is the definitive start of a second youth for Idlewild.

Best track: Mount Analogue