When Brit-pop was still in full-swing, Scottish rockers Idlewild were dropping out of art school and ingesting Fugazi, Superchunk ...and all those small bands on American indie-rock labels. A few gigs, a few seven inch singles and then in 1998 they released their Captain mini album via Steve to Lamacq s
Deceptive label (at the time home to Elastica) before signing to Food Records (then home to Blur). Then, when every new British band from Coldplay to Badly Drawn Boy trotted around with an acoustic guitar, they delivered their debut full-length of erratic punk rock, Hope Is Important.
They have toured and toured, garnered countless fans, picked up gold and silver sales discs, scored top 10 singles, released a Best Of and a B-Sides collection, not to mention have found themselves atop various year-end lists on both sides of the Atlantic, across Europe, in Japan and many other parts of the known universe.
Now, Idlewild are releasing Post-Electric Blues, an indie-rock album of Boss-like bombast, flecked with 70s synths and dashes of brass. It s an album that leaps from Fleetwood Mac epic folk/rock/pop peaks into joyous Loch-side sing-alongs. It s the sound of a deft and defiant band (completed by Rod Jones on guitar, backing vocals, keyboards; Colin Newton on drums, percussion; Allan Stewart on guitar and Gareth Russell on bass), exploring soundscapes whilst finding hooks and generally, genuinely and quite clearly, having a fookin good time.
The album is both a leap forward for the band artistically as well as conceptually. In 2007, when Idlewild became an unsigned band due to their label s financial woes, they took a chance and instead of chasing a deal, asked their fans to pre-order the album. The result of the experiment was a triumph, with over 3000 of their web-savvy tribe embracing the 2.0 record funding model.
Whilst they waited for the record to be written and recorded, members of their fanclub-like online community saw and heard work-in-progress snippets of Post-Electric Blues: The fans of the band were part of this album and were entitled to see the songs being written and to feel a part of them, beams Woomble.
They paid for them to be recorded after all. We all really like and appreciate the fact the fans paid for us to make this album and that all their names are inside of it.

Japanese edition of the third album for the Scottish indie-rockers. Includes two bonus tracks, 'The Nothing I Know' & 'Poor Thing'. 13 tracks in all. EMI. 2002.

Second major label full length from the Scottish punk rock revival act. Includes the singles 'Actually It's Darkness' & 'Little Discourage'. 12 tracks in all. 2000 release. Standard jewel case.

2007 compilation from the Scottish Alternative rockers led by the oddly-named (but enormously talented) Roddy Woomble. . The CD contains 17 of their finest singles and album tracks including 'When I Argue, I See Shapes', 'No Emotion' and 'El Capitan'. EMI. 2007.

Second major label full length from the Scottish punk rock revival act. Includes the singles 'Actually It's Darkness' & 'Little Discourage'. 12 tracks in all. 2000 release. Standard jewel case.

2007 album from the Scottish rockers, their first release on the rejuvenated Sequel label. The album was recorded over a six week period in Edinburgh with longtime producer Dave Eringa. On Make Another World, the band return to a rockier sound reminiscent of their earlier releases. 10 tracks including the singles 'If It Takes You Home' and 'No Emotion'. Sequal.

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2010 collection of singles, album tracks, b-sides & live tracks from their eight years signed to the EMI label.