Pitchfork

There are three things that are absolutely unforgivable in the Punk Handbook: hooks, tunefulness, and any demonstration of musical talent. Apparently, Idlewild were out back taking a piss when the last copy was sold.

Idlewild is a band that's been unfairly tagged "punk-revivalists." But while there are a handful of straight-ahead punk songs on Hope is Important, the band's punk attitude and throttle fuses with a more palatable rock modus operandi on the record's brightest moments. What truly sets Idlewild apart from the unwashed masses of wannabe punk bands that follow the yellow prick road paved by the Sex Pistols and the Exploited, though, are the distinct traces of indie rock influences-- from Husker Du to Superchunk-- that percolate up through their punkish rush.

The group, comprised of vocalist Roddy Woomble, guitarist Rod Jones, bassist Bob Fairfoull, and drummer Colin Newton, has existed since 1995. But Hope, their U.S. debut, shows a band as inexperienced at record-making as a group of teenage punks just signed to Flipside Records after their first gig at Coney Island High. As the liner notes indicate, the album was recorded in a total of 29 days, spread over the course of six months. In this regard, they remain true to the punk paradigm-- the album sounds immediate and desperate. You can practically hear them being dragged out of the studio as their lease runs out. Thus, many of the weak songs that might have otherwise been tossed (read: those that rely too heavily on punked-up guitar noise and strained vocals to disguise flimsy hooks), are deposited onto the album as filler.

The other major blemish to the album, unfortunately, is the frontman. If your only role in the band is to provide the vocals and get a rise out the crowd, you better be damn good at it. I mean, you don't have to be Liam Gallagher-- or even Chris Robinson, for that matter-- but you do have to be engaging, and able to flow with the music. Roddy Woomble (that's got to be his real name, doesn't it?) has his moments, sure enough. His vocals have a lip-curling appeal to them, at times. And he shines on the album's single, "When I Argue I See Shapes," sounding eerily like Blink 182's Tom Delonge channeling Michael Stipe. Except Scottish. And with a brain. But even in his best hour, Woomble still can't keep time with a kindergarten 4/4 beat. Maybe he should learn to play the recorder, or perhaps, pick up a copy of Hooked on Tempo (now available at your neighborhood Pamida store).

Essentially, Hope is Important is an album of singles. Only "When I Argue I See Shapes," "Paint Nothing," and "I'm a Message" manage to break free of the punk chains with commendable results. As a punk band, Idlewild is nothing special: they've got no political agenda, they're not ugly enough to use their social frustrations as fodder for songs, and they don't piss off government officials. But as a punk-tinged rock outfit, they have some cache. If they can keep the punk in the back of their heads and off their guitar strings, maybe they'll get some more studio time. And, hopefully, we'll get an album showcasing the songwriting talents that are merely hinted at here.