Shortly after the release of this album, Idlewild's bassist, Bob Fairfoull, left the band. There were many theories as to what caused his departure: there was talk of a fistfight between Fairfoull and singer Roddy Woomble; an increasing dependence on alcohol; and unhappiness at the band moving away from its punk roots.

On the basis of this album, the latter reason certainly seems plausible. There are two types of song evident: slower almost acoustic songs like 'Live in A Hiding Place', in the vein of previous album '100 Broken Windows'; and guitar-based rock songs such as 'A Modern Way of Letting Go', which is more reminiscent of 1998's 'Hope is Important' album. No prizes for guessing which songs Bob would have preferred.

As ever, Woomble's lyrics are abstract and rooted in poetry. 'In Remote Part/Scottish Fiction' is the most personal song written by the singer to date, with Woomble, along with Scottish poet Edwin Morgan, exploring the importance and, indeed, the unimportance of their Scottish roots. This confusion about the issue of belonging is evident throughout the album, and is highlighted by the contrast between the two types of song apparent here.

Musically, this album represents a great leap forward, but with a few backwards glances. 'You Held the World in Your Arms' is absolutely epic, whilst 'Out of Routine' harks back to the raucous passion found on the earlier records. The slower songs like 'I Never Wanted' and 'Live in a Hiding Place' are carried by Woomble's vocals and the faultless backing vocals of the band.

It isn't all great.

'Tell Me Ten Words' has neither a memorable tune nor message, and penultimate song 'Stay the Same' sounds formulaic in comparison with the rest of the album. All criticisms pale into insignificance when faced with 'In Remote Part/Scottish Fiction', which is so beautiful it hurts to listen to. It is the crowning moment on what is a record made by a band in the process of transition. Once they work out what they really want to be, they'll be unstoppable.