It’s a voice I know well through CDs and iTunes, but last Friday through an exponential derivation of Bell’s grand invention, it became a voice within earshot. It was on that day that Roddy Woomble, lead singer of Scottish rock band Idlewild, took time out of his evening to shoot the shit with little ol’ me. Although frontmen for rock bands can be stereotypical bonehead, egomaniacal a-holes, it took only minutes to discover that Roddy exhibits no such characteristics. Maybe it was the Scottish accent which, let’s face it, can make the most derisive of insults sound quite lovely, but I found him to be a bright, congenial and articulate musician who speaks warmly and openly about song writing, his band and their new album.

Before I allow Roddy to discuss Idlewild in his own terms, a quick summary is in order to get unfamiliar readers up to speed. Idlewild currently includes Roddy (vocals), Rod Jones (guitar), Colin Newton (drums), Allan Stewart (guitar) and Gareth Russell (bass), the first three who have been in the band since its formation in 1995. With their fourth full-length studio album “Warnings/Promises” (2005) receiving mixed reviews, a US tour that Roddy termed “disastrous” and the subsequent inability to renew their contract with EMI, the band took time off to regroup and evaluate the music scene and their place within it.

Following the reprieve, a revitalized Idlewild re-emerged with a new bassist, a new label (Sanctuary Records) and a new album, released in the US just last month. The title of the album, “Make Another World,” seemed to fit as a metaphor for this new chapter. However, Roddy explains that wasn’t actually the intention.

“The title is ambiguous. It has to have an element of mystery so people don’t know exactly what they will be listening to.”

A familiarity with Idlewild’s discography reveals that enigma is ironically a constant. Idlewild’s first release was a grunge record. Over time, Idlewild’s music deviated from the distorted guitars and screeching vocals of grunge and became softer, culminating with “Warnings/Promises” which evokes tones of R.E.M. “Make Another World” kicks it back up a notch. The album contains an array of sounds worthy of a listen including folk, punk and pop-rock containing heavy guitar (real, not overly affected) combined with folk-ish melodies, and one disco driven tune.

“Music is a reflection of who you are at that time in your life. We started as teenagers being obsessed with bands like Nirvana, Mudhoney and Sonic Youth. We imitated those bands. Then we grew up with the albums. We understand more about our musical ability and the roots of our inspiration. We’ve gotten more folk-y, added folk melodies. But the spirit has always been a noisy rock band.”

Some critics condemn Idlewild’s variety and claim that the band lacks identity; I respectfully disagree. I don’t think a band that changes its tune lacks identity and I yawn at bands that repeat the same song over and again with only a new title to distinguish the new from the old (my apologies to Red Hot Chili Peppers fans). I think there is merit to a band that grows with time. Idlewild has been making music for more than 10 years; naturally it should undergo some transformation. One can’t help but wonder, though, how much the opinion of the masses matters when making a new album.

“There have never been masses of people that like Idlewild. We delved into the mainstream occasionally. We are sort of a cult-ish band and I am comfortable with that. The people that buy our records are dedicated and because of that, we feel the liberty to do what we want. But we have never been in the position to take anything for granted, and we never would.”

Roddy summarized the new album as being “formed by ten years of attempted wisdom.” During our conversation, Roddy came across not only as wise but also refreshingly introspective. “Make Another World” is about “cityscapes, modern language and the way a person makes a city and the city makes a person. Although we co-exist we make our own worlds among everybody else.”

In a sincere and frank fashion, Roddy discussed the array of concepts that permeate his brain when he is alone with only his thoughts to keep him company, “The pavements are fascinating because of how many people have walked over them. I live in Glasgow where everything is ancient and I think about all the people who have lived here before me.” He stated that one has to have these thoughts or naturally has these thoughts as a lyricist; I think he severely overestimates today’s singers and songwriters.

Roddy appreciates music and lyricists that don’t necessarily focus on the words and don’t tell a neatly packaged story. The lyrics to the tracks on the new album were formed by some of these very same stream of consciousness type ideas.

“The lyrics are a collection of thoughts strung together. It doesn’t necessarily make sense, the music pulls it together. There’s nothing worse than a pseudo-intellectual fronting a rock band.” Amen to that, Roddy.

The lyrical process is not born by the frontman alone, however. You won’t see the band in a conference room with a dry erase board and a sharpie, but as far as Roddy is concerned, “it’s very much a democracy when it comes to songwriting.”

My interpretation of some of the lyrics reveals themes of love, loss and disappointment, but whatever analysis one might have of the words, there is no mistaking the power of Roddy’s vocals which are soulful and melodious. Roddy explained that over time he gained the confidence to cease emulating singers with whom he was enthralled and find his own voice which, bless him, includes his accent.

Idlewild is hailed as being an exceptional live band. They are currently touring the new album throughout the UK and although Roddy believes that the performances are the best of Idlewild’s career, he also jokes that at the moment there aren’t that many of them. Regardless, it is clear that Idlewild will continue to create music and it is Roddy’s “intention to do what I want to do regardless of fads or trends until we produce body of work they can’t ignore.”

By: Megan Karasch