Most Helpful Customer Reviews
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11 of 14 people found the following review helpful:
5.0 out of 5 stars
Idlewild and the Thug Life in a Topshop, May 2, 2003
During a recent trip to England, I was able to collect more evidence in support of a suspicion Ive had for awhile now that Idlewild might just be the best rock band in the world today. I first started to consider the possibility of Idlewilds supremacy last year after hearing 100 Broken Windows, but visits to an HMV in Cambridge and a Topshop in London this February pretty much confirmed it. It was a cold and rainy morning when I entered that HMV near the Cambridge campus and stumbled upon an exquisite sight. Before me lay an entire section devoted to Idlewilds three studio cds, each title represented by an incomprehensible 5 to 10 copies. Intoxicated by a vision unlike any I had ever seen back home in the U.S.A., I quickly purchased a copy of each cd, even 100 Broken Windows which I already owned. After all, I was on my way to East Africa and needed to stock up musically for the two months ahead. A few days later, I found myself in a Topshop in the shopping district of London, completely against my wishes I can assure you. There I was, nodding off in the corner, impatiently awaiting the emergence from a nearby dressing room of my girlfriend stunningly clad in a pair of black corduroys. Cacophonous rap music videos assaulted my senses from a dozen big screen tvs and I began to seriously consider smacking dem hoes as one onscreen rapper urged me to do. Just as the thug life began to take its irresistible hold on me, from out of nowhere appeared the video for Idlewilds You Held the World in Your Arms, the first track off of The Remote Part. Suddenly, all was right in this strange world where Ludacris and Roddy Woomble mingled amidst cut-rate designer fashions and the women who lust after them. I sat transfixed for the next three minutes soaking in the new Idlewild video, even managing to ignore the 250-pound lovely burrowing through the thong bin nearby. My reverie was broken only when at the end of the song, scenes of Idlewild graded abruptly into images of Rah Digga and her entourage. Hard as she tried, though, Rah Digga couldnt take those previous three minutes of pure enjoyment away from me. When my girlfriend finally emerged from the dressing room and informed me she was not buying the black cords, I really couldnt complain that the waiting had all been for naught, now could I? On both of their most recent albums, Idlewild pull off the difficult feat of recalling their varied influences while still managing to sound fresh and wholly original. While their instrumentation and songwriting are exceptional, Idlewilds strongest component is actually singer Roddy Woomble who provides some of the most affecting vocals in music today. Check out In Remote Part/Scottish Fiction if you dont believe me that lilting Scottish brogue that Woomble falls into every once in a while is an otherworldly delight. The man might just be the next Bono, minus the (admittedly laudable) political proselytizing and the (not so laudable) smarmy superiority complex. Heck, Idlewild have already created two albums as good or better than anything U2 ever produced and thats strong praise coming from a big fan of early era U2. Let me put it this way, if you are intrigued by the idea of a band that sounds like an amalgamation of R.E.M., Nirvana, U2, and the Smiths at the height of their powers, do yourself a favor and buy The Remote Part (and 100 Broken Windows). The Remote Part has even finally been released here in the U.S.A. so you dont have to special order it or travel to England to buy it anymore. Chances are, its going to be a big-seller here and I, for one, wont mind seeing the mainstreaming of Idlewild. A band this great deserves to make a little money through their art.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Better Than Expected, April 14, 2003
The Remote Part has gotten flak from certain corners of the indie rock world for relying too much on ballads and stripping away some of the punk-influenced energy present on 100 Broken Windows. While 100 Broken Windows is a very good record, with at least six brilliant moments, it got a little too bogged down in repetition and a few clunkers. With the exception of the average "Century After Century," The Remote Part is practically flawless. Indeed, it is their most "mature" record to date and offers an even mix of post-punk workouts and slower, calmer fare. Despite the criticism, the ballads all work very nicely, with the excellent "American English" and "Tell Me Ten Words" standing out. But despite cleaner production, the songs more reminiscent of the peak they reached on 100 Broken Windows are stunners. "You Held The World In Your Arms" and "A Modern Way Of Letting Go" are two of the best singles from any band in a while and hit the listener with their glorious frenzy and beauty. Perhaps the highlight is "In Remote Part/Scottish Fiction," a track that starts out as a sweet ballad and explodes into a magnificent wall of guitars in the end. Indeed, this track is ideal in the live setting (it was incredible when I saw Idlewild perform it live), but it translates all that energy flawlessly in the studio. The Remote Part is by no means a misstep despite Idlewild's slight change in direction. Here's to future greatness from this overlooked band.
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5 of 6 people found the following review helpful:
5.0 out of 5 stars
a titter of mirth at the constant REM analogies, April 18, 2005
It's quite interesting to see how reviews for british bands written by american critics and fans compare to, well, the british equivalent.
Being British myself, and having seen Idlewild play last night in Nottingham my review is totally biased as I'm still buzzing off of how amazing they are.
First of all my opinion of this album: Divine follow up to 100 Broken windows with Idlewild in more reflective and emotive mood. There is a definite depth to this album that exceeds previous works whilst maintaining the trademark riffing and power melodies. American English is a damp squib, in fact it's dire. This raises the point I'm making about the difference in opinion from either side of the pond. US opinion generally states that "American English" is a soaring rock classic (unsurprising from the largest concentration of Nickelback fans in the world). Britsh opinion is generally that it's generic and tiresome. That is the only criticism of the whole album I have as I love every single track other than "American English".
the REM analogies are frequent either side of the Atlantic but I don't really see the massive connection. To say that Roddy Woomble has looked to Michael Stipe for lyrical inspiration is basically laughable. From Early work like Captain, Hope Important and 100 Broken Windows through to this album and their new release "Warning/Promises" the lyrical ingenuity has always been clearly lauded towards contemporary and classical Scottish poets, although structurally I admit to some similarities to REM. the previous comments about this album trying to cram the whole of the Smashing Pumpkins back catalogue into one album is side splitting also, mainly because Idlewild are so much better, so much cleverer and frankly downright more interesting in every possible way to the criminally overrated and happily now defunct Smashing pumpkins.
don't get me wrong, I am under no illusion that Idlewild are the most original band ever to grace the earth but hats should not be tilted toward iconographic US bands like the aforementioned REM/Smashing pumpkins. I think a better breakdown would be to think of Idlewild as a blend of The Smiths and Mogwai. Idlewild carry a lack of sickly sweet sentiment in their songs even when writing about love and relationships and this album is no different and I personally feel enhances their reputation as one of the most important contemporary bands today - not just in the UK but on a global scale. I don't think they get the recognition they deserve and although "The Remote Part" offers more to a mainstream audience I still don't think they'll get the exposure to propel them to the heights they are capable of achieving. I don't mind that one bit as the last thing the world needs is another Stadium rock band.
buy their records and be totally immersed but don't try and pigeonhole them to other bands. for fans of anything from folk to Indie to Post Punk. you'd be doing yourselves a great injustice by avoiding this band.
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