Customer Reviews

Remote Part

5 star:		(25)
4 star:		(10)
3 star:		(8)
2 star:		(3)
1 star:		(2)

 

 

For me 'The Remote Part' has been highly anticipated following the lively and occasionally vitriolic '100 broken windows'. Although upon listening to the latest release it is clear that a progression has occured it is debatable whether this new Idle'wild' can live up to its former self. The remote part is by no means a bad record, in fact compared with the majority of other bands it would stand out tall hence the 4 stars, just not within the idlewild discography.

The singles You held the world in your arms and American English are rhythmic, melodic and the latter is particlulary haunting with its flowing guitar riff and the somewhat paradoxed lyric ' I think your young without youth'

Stand out tracks-
American English
In remote part - poetry and a dramtic finale- what more could you want?
Out of routine - blistering chorus and the best of the songs which represent the old idlewild.

Ones to avoid-
Century after Century - its got a gary numan 80s electronica feel to it which doesn't work. The b-side to the 'you held..' single 'a distant history' would have been a better inclusion.

Overall its a very good album and hints of 100 broken windows remain (modern way of letting go, out of routine, i am what i am not) and the mellow touches are nice if too much in the majority.
Still, it's a welcome break from the papa roach nu-metal generation which is well past its used by date. I woud recommend this as it is still a very good cd but don't expect the same indie punk rollicking that broken windows and hope is important gave you.

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.

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.

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.

I don't knoow how many CDs i've bought that i've stopped listening to after a months, that only have a few good songs, or just weren't worth my money. This album I'll never regret buying, because it has to be the best CD I own. Every single song is superior- lyrically and musically. The lyrics in themselves could be on their own in a good poetry book. Not only that, but the songs don't all sound the same like many american mainstream band's songs do. I purchased this album after only hearing a few of their songs that my friend had told me about and I worried I wouldn't like it, but far from that I listen to it excessively. I can't really say if it is their best album since this is the only one of theirs I've heard, but it blows any american rock out of the water.

Im 15, so my review is from a hardcore from the begining fan. I first heard idlewild along time ago, in 1998 around the release of their first album hope is important and have seen them live *very goos show* supporting coldplay, but have just bought the albums recently. Their stlye of music is not as some would say indy or rock, it is a clash of pure poetry and punk rock guitars, blended with alot of pure talent and a occasional chilled mellow riffs.
Thier songs range from the sheer rock influences in "modern way of letting you go" to the very much indy, very mellow tones of "american english" and "live in a hiding place".
This albuk would suit anyones collection, from a lover of bands like nirvana and the foo fighters to colplay amd travis.

This is a great cd. it deserves five stars. I will not say this is the best cd that i own, however, it is one of the better albums that i listen to. Every song is enjoyable to listen to and the closing song leaves you in awe. it is a definite buy for any fan of not very popular rock bands. Really, the only reason that I am not raving over this cd is because of some of the lyrics and poppyness. The lyrics are good, yet, they try to write it off as poetry when really, it sometimes can be very repetitive and not so poetic. Some songs like Stay The Same, are just a little too pop for my tastes. It almost reminds me of the All American Rejects... i'd rather not a good band be compared to that garbage, but it's true. This album isn't as good as their last (100 Broken Windows) but it is Still a great album to buy. Get it... right now.

If you already have 100 Broken Windows then you shouldn't bother reading these reviews, just buy it.

If you're new to Idlewild then I'll give you some insight. Listen to the clips first of all. Tracks 1 and 2 are really great but don't think they're representative of the whole album. Once you get to the 3rd track you'll start to get to the heart of the album. This is a bit more mellow than thier previous album. I still don't think any of this sounds like Brit Pop, but it is kind of Indie Pop or something like that. I think The Guest by Phantom Planet is a pretty similar album in mood, but not in style. If you can find clips of the other tracks then you should listen to those too. Try to find "Out of Routine" and "Stay The Same" if you prefer the harder stuff. "Live In A Hiding Place" and "Tell Me Ten Words" are great if you like the lighter stuff.

The one guarentee I'll give you is that you won't have another CD like this in your collection. This is a really talented group without sounding like the typical UK band.

I normally don't review albums, because most get plenty of reviews already. However, I am afraid that this gem of an album might be overlooked here in the US. In the UK, the band and this album are both hugely popular, and with good reason. Every song is great, and this band deserves some real recognition here. My favorites on this album would have to be the beautiful American English and In Remote Part/Scottish Fiction, as well as You Held The World In Your Arms. But you can't go wrong with any of the tracks. Each one is full of energy, and well-produced.

Do yourself a favor, and introduce yourself to this awesome band who deserve all the praise they are receiving.

Idlewild's website encourages you to "support your local poet." No wonder their records contain nods to Gertude Stein and Walt Whitman, as well as samples from famed Scottish writer Edwin Morgan. But, "it's no novel, these are songs," insists singer Roddy Woomble. Although lyrics like, "I didn't hear cheerleading for creative writers," seem to negate most of that statement.

After the band's last record "100 Broken Windows" received rave reviews (including Spin Magazine's Best Band You've Never Heard award, a nod that led partly to their release stateside on Capital) the band's third full-length release "The Remote Part" is once again an import-only gem (at least until 2003) to be found only on major web sites like Amazon, and local record stores that still have the wherewithal to dig for great overseas acts.

But that hasn't stalled much of Idlewild's greatness. Still intact is the Murmur-meets-Nevermind sound that made the band so exciting in the first place.

The album begins with the bombastic crush of distorted guitars complete with string arrangement and full on stereo-phonic glee that is "You Held the World in Your Arms Tonight," followed closely by the equally energetic "A Modern Way of Letting Go."

But what succeeds mostly on this record are the more offbeat and balladesque numbers (American English, All I Never Wanted, Live in a Hiding Place, Tell Me Ten Words, In Remote Part / Scottish Fiction). "Love songs never being on the agenda. People songs most definitely are," says singer Roddy, whose voice comes off all too often as a young Michael Stipe. His lyrics seems constantly bothered by self doubt, social confusion, romantic mirage, and false intellectualism. But what doesn't shine in life certainly does on the stereo. Lines like, "losing isn't learning to be lost / it's learning to know when you're lost," "I think you're young without youth," "what I want is on it's way out," are years apart from journal-entry approach that covers most of their post-Nirvana peers.

Rod Jone's guitar work ranges from the searing and searching hiss of the opening two tracks, to the more delicate and drone threads apparent on songs like "American English" and "Live in a Hiding Place." while drummer Colin Newton and departed bassist Bob Fairfoull keep a tight pocket throughout.

The band occasionally meanders into the tired foray of modern pop-punk (the ironically titled, "Out of Routine" and "Stay the Same") but still manages to release another overall triumph, even if it will go mostly unheard this side of the English Channel. But with diverse influences ranging from Beck and Bob Dylan to Kiss and Meatloaf, it certainly isn't much of a surprise that the band aren't regulars on TRL. But then again, when's the last time quality had all that much to do with popularity.