What is it with all these lead singers stretching their solo wings at the moment? With the irrelevant James Dean Bradfield and Mercury-nominated but still whiny Thom Yorke currently doing the rounds, the prospect of a folk record from Idlewild singer Roddy Woomble probably wouldn’t be greeted with unbridled joy by most people. But most people would actually be wrong, as this is indeed a record that, not only being relevant and free of whines, is a real joy.

And don’t be put off by the bearded and woolly-hatted hermit on the front cover. Woomble, now thankfully free of beard, hasn’t gone completely native to the folk scene. Indeed, this isn’t a million miles away from an Idlewild album, not only due to the strong presence of the Wild’s guitarist Rod Jones on song-writing and instrumental duties, but because it can be seen as merely a continuation of Idlewild’s last long player, the definitely folk-tinged Warnings/Promises. And many of the tracks wouldn’t sit too uncomfortably on an Idlewild record, the mighty As Still As I Watch Your Grave for example being not dissimilar to a You Held The World In Your Arms that had spent a season hibernating on a remote highland moor, whilst the gently ascending sublime grace of Waverley Steps is another example of the Woomble/Jones combination’s classic song writing. Meanwhile Every Line Of A Long Moment is so earthily melodic it could have been grown in a musical allotment, powered by the pounding drums used to such good effect on Idlewild tracks like American English.

It’s not all just Idlewild with added friends and random strange instruments though (ever heard of a cittern or Wurlitzer? Nope, me neither). Act IV is far more restrained than any unashamed rock band could ever get away with, From The Drifter To The Drake starts off with a bit that sounds like Gregorian chanting and Whiskeyface would be more at home at a barn dance than an indie gig. But as ever Woomble’s rich Celtic tones fuse the whole thing together, here complemented and supported by the pretty backing vocals of folk singers Karine Polwart and Kate Rusby.

So in truth this isn’t a solo record, due not only to the lengthy cast list ( which runs to 13, if you really want to know) but the unmistakable and reassuring imprint of Woomble’s (mercifully not yet former) band. It’s an album for Idlewild fans, folk fans and rock fans wanting to discover a little more about folk alike. But most if all it is a fine work, of which Woomble, his fellow contributors and his own devotees should be proud.

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