Warnings/Promises

Following a tour supporting Pearl Jam, and festival appearances in the UK, the band rented a house in the Scottish Highlands to begin writing the follow-up to The Remote Part. In an online diary entry, Roddy Woomble stated that the first four months of 2004 were:

spent in song writing frenzy, in various bedrooms, living rooms, and up in the frosty Highlands. Breaking up the chords and words with sporadic midnight rambles, wrapped up warm, drunk on wine, deep in dark woods. And playing table tennis in a cow shed. In a surreal twist the next three months were spent in Hollywood, California, turning these Highland folk songs into fully realised rockers.[6]

To record the album, the band flew out to Los Angeles, and worked with producer Tony Hoffer. According to drummer Colin Newton, the band had been:

taking our time recording the songs for the album and spent three months going backwards and forwards between studios in L.A., and a lot of the time we were too intent on having a good time rather than working hard, so eventually that’s why we had to go back out and re-record everything and we finally got it finished in October. Along the way as well, we’d been hearing that the record company had been having doubts about the songs on the album, so that final trip to L.A. seemed to be the re-awakening of us as a band.[3]

In another online diary, during the recording of the album, Woomble commented on the different environments:

We wrote these songs in a damp house overlooking Skye, surrounded by sheep, mud and the crazy Scottish sky, and listening to them driving through west Hollywood at midnight, looking out the window. It's like a different version of the same song.[7]

Prior to the recording sessions in Los Angeles, the band had begun recording in Sweden with producer Dave Eringa. Only one song from these sessions, "I Understand It", is included on the album.

On the DVD that accompanies Scottish Fiction - Best of 1997-2007, there is a section titled The Making of Warnings/Promises, which includes interviews with the band members and their thoughts on the album.

Professional ratings

Review scores
Source	Rating
Allmusic	[8]
Drowned in Sound	7/10[9]
Entertainment.ie	[10]
The Guardian	[11]
NME	9/10[12]
Pitchfork Media	6.5/10[13]
Q	[14]
Robert Christgau	[15]
Rolling Stone	[16]
Stylus Magazine	C[17]

The album received mixed reviews, with a Metacritic score of 66, based on 20 reviews.[18] NME gave the album a positive review, writing that "where The Remote Part was their Green-esque lunge into the spotlight, Warnings/Promises is their full-blown Out of Time spectacular. But with less twangle, more teeth.".[19] On the other hand, Alternative Press claims that "Idlewild undeniably sound like a once-great band helplessly slipping into their confusing middle years."[18]

Fan reaction to the album was mixed, and the album remains hotly debated on forums.

In regards to the album's mixed reactions, Roddy Woomble believes that:

a lot of people that criticised that album were younger people, people who liked specific things in our past. The record actually sold well, and found a new fan base amongst older people. Basically our audience changed and opened up, and I think a lot of younger people, who followed the band for a while, didn’t want to go to a gig with their mother and dad, yet suddenly there were people of their mother and dad’s age at our gigs. I think the culture we live in is obsessed with things that are young and fresh. It’s like music has a sell-by date or something, which is absurd: everyone knows sell-by dates were only invented so people don’t get sued. I don’t pay much attention to critics, though – if you did you’d never get out of bed, because you’d be so worried about what people thought of you. I think people that criticise need to get out more and go for a walk. I mean, what’s the point? If you don’t like it, you don’t like it. I think the good thing about the band now is that we’ve got a body of work – you don’t have to like all of it, it’s not a requirement. If you can take something from one or two records, that’s something.[2]

1. "Love Steals Us from Loneliness" – 3:12
2. "Welcome Home" – 3:15
3. "I Want a Warning" – 3:35
4. "I Understand It" – 3:20
5. "As if I Hadn't Slept" – 3:36
6. "Too Long Awake" – 3:07
7. "Not Just Sometimes but Always" – 3:33
8. "The Space Between All Things" – 4:12
9. "El Capitan" – 3:57
10. "Blame It on Obvious Ways" – 3:24
11. "Disconnected" – 3:51
12. "Goodnight" – 8:06
    • "Too Long Awake (reprise)" (hidden track) This is a re-arranged acoustic version of the earlier track.

The following people contributed to Warnings/Promises:[21]

• 7 March 2005: Belgium, Denmark, Iceland, Ireland, New Zealand, Norway, United Kingdom
• 14 March 2005: Greece
• 16 March 2005: Hungary
• 20 March 2005: Australia
• 21 March 2005: Netherlands
• 24 March 2005: Japan
• 4 April 2005: France
• 11 April 2005: Austria, Germany
• 16 August 2005: United States, Canada

• Roddy Woomble's diary entry, which recaps 2004 and the recording of the album
• Interview Gavin Fox
• Interview Colin Newton
• Interview with Roddy Woomble – 16/8/05