Break your windows (and the neighbours) with this (100 Broken Windows - Idlewild)

Member Name: wicked_witch

Product:	100 Broken Windows - Idlewild
Date:	08/07/02 (179 review reads)
Rating:

Advantages: They just get better and better!, intelligent, melodic

Disadvantages: n/a

Not really a secret that I love Idlewild now then. Or Roddy, for that matter. The new album "The Remote Part" comes out on the fifteenth, and I'll be sure to buy it as soon as my poor, emaciated student bank account recovers from T in the Park (hey, why do you think I'm churning out all these reviews?)

Moving on from my skintness, 100 Broken Windows is the second album (third, if you count the mini-album Captain) release from jock-rockers (oh, how I love that term) Idlewild. This Edinburgh based foursome formed in December of 1995 and have developed from a band described as "shambolic", "lunatic" and "like a Scottish Greenday with table manners" to an intelligent-sounding, melodic band along the lines of REM. Although new album "The Remote Part" really proves those references to Stipe-like lyrics, "100 Broken Windows" is where they began. Other influences include Sonic Youth, Black Flag, Nirvana and the Stooges.

Moving on from the assault on the eardrums that was Idlewild's first full length album, "Hope is Important", which showed punky tunes toying with melody and clever, sharp lyrics, "100 Broken Windows" ditched Idlewild's violent side and opened up its philosophical one. It also opened up to doors to success for them, and led to more acclaim for them as a band, eventually leading on to the likes of the current single "American English". But, despite this, Idlewild havent forgotten their punk roots and skilfully fuse together their old style and their new, which adds great dimensions and character to the album.

1. "Little Discourage" provides the perfect bridge between the gap of "Hope is Important" and "100BW". Opening with catchy sliding fretwork and Roddy's typically dour, gruff voice, it sounds like your average soft indie song, until it builds up to a slightly louder, but still melodic, chorus
. The playful guitars contrast yet complement the vocals perfectly, and it’s a nice, upbeat opening track, with typical abstract Idlewild lyrics "I found a mountain on my own, Trust history to say it’s unknown,
There’s a seventeen contest in my own home".

2. "I don't have the map" A more gloomy guitar track provides the setting for a much heavier track, with Roddy returning to some of his former howling glory, yet somehow managing to keep his cool. Another top track, with none of the catchy hooks of some of the songs on this album. But beautifully sung and played, and providing a nice contrast between "little discourage".

3. "These Wooden Ideas" Trust Roddy Woomble to write a track about post-modernism. And here it is, a nice, sing along, catchy, upbeat track. Hang on, catchy? Sing along? Not words that could have been used in connection with Idlewild before the release of this album. Roddy's sometimes comically dour voice is, once again, complemented by a low-pitched wandering background guitar track. In time honoured indie tradition, it has the whole quiet verse, loud chorus, quiet verse structure. But from Idlewild it doesn't seem at all clichéd. They manage to turn this overused tradition into an original, defiant, slightly mocking track ("I bet you don't know how to spell contradiction, I bet you don't know how to sell conviction").

4. "Roseability" was one of the singles from the album that done pretty well (by random, underground rock band standards anyway). This one, too, has bizarre lyrics, and despite not being one of the albums better offerings, it is still a solidly put together track, with a hook that’s impossible to get out of your head. Opening on a quiet beat, it adds a soft, infectious guitar rhythm, and vocals which see Roddy injecting a Scots lilt into his ex-American punk style voice. The sing along call-and-answe
r chorus ("Gertrude Stein said that’s enough, I know that that’s not enough now) has an upbeat, bouncy feel to it, which means this is a bound to be a favourite of many on this album.

5. "Idea Track" An interesting track to say the least. Quite literally, it sounds like an experimental melting pot of sounds. High-pitched vocals sing something about it being an idea track, while Roddy mutters away in the background ("Dear Hugh Miller, I’ve thought it through for a while but it doesn’t get any easier, And three months on in this bad design won’t make it feel any easier") then he does the old Idlewild thing (i.e., screaming his head off into a mic, this time "its your grave" and giving us all bleeding ears...well done mate). This combined with the odd guitar tunes, has a 'thrown together' air to it. The wandering, loose drum track adds to the strange feel of it. Alternately melodic and metallic, and building up to a nice, well put together track, this track is very odd, but strangely compulsive listening.

6. "Let Me Sleep (Next to the Mirror" provides and nice contrast. A sugar-coated, soft guitar opens a melodic, beautiful track with Roddy almost sounding tuneful! Heavy guitar tracks are played softly to allow the beautiful, hopeful vocals to shine through, and this track is an absolute pleasure to listen. Soft and easy on the ears, and yet intelligent and with lyrics that you could think all night about if you were that way inclined. If not, just sit back and listen to the beautifully played guitars, and Roddy's gorgeous voice (yes, I'm obsessed with him. So sue me).

7. "Listen to What You've Got" some buzzing feedback, and a howling, buzzing guitar, opens this stomping rock track which provides and sit-up-and-listen moment after the beautiful peace of the last track. Roddy manages to stick to singing here instead of screaming and howli
ng, apart from the odd, bellowed "NO!” Nevertheless, despite the heaviness of this track, the urgent guitar and slightly softened vocals make it listenable and affecting. Races along at an incredible pace, in much the way of the old Idlewild stuff, only more melodic. Finishes unexpectedly with some more screamed "NO"s from Roddy. A very short track that'll make you head spin!

8. "Actually Its Darkness" Another beautiful melodic song that wanders along at a lazy medium pace reflected by a simple, bouncy guitar tune. The choruses are loud, but still stay on the melodic, rather than the trashy side. There's a beautiful quiet moment, with a piano tune, some near whispered drumming and Roddy reminiscing about a photograph which brings the whole thing together beautifully, and builds up to more loud guitars and vocals. Recognise the pattern?

9. "Rusty" Another, odd, scattered; drum track opens this, with a deliberately off-key voice providing a wavering, weary effect. The guitar tune sounds almost bee-like, another oddball track, and builds up to a heavy chorus. Not one of the best tracks on the album, to be honest. However, the way it changes pace without losing any momentum or urgency speaks in its favour. The thundering, threatening bassline is cracking though, it sounds very familiar but I can't seem to place it. It’s a good track to show off the originality of Idlewild, even if it isn't one of their stronger tracks.

10. "Mistake Pageant" oddly named, fanbloodytastic song! Another bouncy, upbeat track in the style of "Roseability" The guitar track is criminally catchy, and the vocals are top form. Beautifully flowing track without an akward note in it, despite the jerky nature of some of the guitar work, which just adds to the infectiousness of the tune. Uses more call and answer vocals to great effect, another great sing along. The downbeat (“You̵
7;ve had bad luck, and I know what it feels like to have bad luck”) lyrics are sung in a hopeful, upbeat voice, which adds a nice touch to the track.

11. “Quiet Crown” Another beautiful slowie, with Roddy’s voice a gentle purr rather than the usual rabid roar. The twanging guitar tune fits in with the occasional entrance of a piano tune. More slightly depressive lyrics from Roddy, in a slightly more subdued and reflective tone, with canons used near the end to great effect. A lovely soft song, which provides the beginning of the wind down from the album.

12. “The Bronze Medal” Absolutely gorgeous slow finale to the album, and strangely fitting, despite the loud nature of most of the album. This song has an absolutely gorgeous, quiet, melodic chorus with Roddy’s voice soaring hopefully and fitting the track perfectly, back by soft guitars and an occasional piano. More slightly offbeat lyrics add a touch of originality to the track (“It felt warm inside, so we threw the television on the fire, it was in frustration, cus I had nothing to throw away”). Absolutely fitting end to the album, with hindsight, as it leads on to the soft brilliance of “The Remote Part” perfectly.

So there you have it. Weird titles, offbeat lyrics, REM comparisons left and right and broad Edinburgh accents. But the important part is, where some bands get worse as they get softer and poppier, Idlewild just keep getting better and better, and show a great adaptability which will hopefully lead to more recognition for the bloody top tunes they make!

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