ALBUM REVIEW: Blue Blood – Idiot Pilot

July 2015 saw the inception of Global Release Day as a Friday; it caused outrage in the UK where all music had previously been released on a Monday, but it didn’t take long for everyone to settle into the new routine. As such, it goes against all adapted principles when a record drops on a Tuesday, for example, yet we might be able to make an exception in this case. Today sees the first new music from American rock duo IDIOT PILOT in nearly twelve years, a return that has been wanted by many ever since their indefinite hiatus in 2005. Entitled Blue Blood, it was recorded in secret by Michael Harris and Daniel Anderson on weekend trips up and down the west coast of the ‘States and is self-released, meaning they can go against the grain of the organisations and bring it out whenever the hell they felt like it – Tuesdays as good as any, right?

It would have been too much of an ask for IDIOT PILOT to bring out an album that suggested nothing had changed; twelve years is a long time, and it’s therefore no surprise that Blue Blood takes a much gentler route than its 2007 predecessor, Wolves. Opening track Bombs Away is a measured, well-paced rocker that may not have the intensity one might expect but is a definite earworm waiting to strike. This is followed up by the mellow strains of The Pushover, which bring Daniel Anderson’s programming and electronica expertise in for the first time and succeed in adding a layer of warmth and atmosphere. There are a couple of tracks led by acoustic guitars as well in the guise of Only So Much and Aerospace, whilst Widespread Devastation is underpinned by a synth intro and very catchy chorus; the latter also plays a role in the chilled vibes of The Big Sleep, which brings the record to a very statisfying close.

By now, some of the older fans might be squirming a little given the direction that IDIOT PILOT appear to have taken, but if you’re reading this and saying ‘Yes, that’s me’ to yourself, don’t fear. For all that Blue Blood is a little more conservative in its approach to fuzzy overtones and harder guitars, there’s still enough here to keep those content. The best example is lead single Murderous, which dips and swerves impressively before Michael Harris reminds us of that powerful scream he possesses, but the pace of Mammoth and the BIFFY CLYRO-meets-THE MENZINGERS feel of Saboteur will go a long way to satisfying those needs. Sideways and Silver Needle could be thrown in the mix here too; the first is a little dreamy in its foundations but gives off a big feel of MUSE, the second sonically massive in every way possible.

For all the new elements and nuances, what’s not changed is the fact that Blue Blood is very much an IDIOT PILOT record and, as far as comeback albums go, this is up there with the best of them. This is the audible equivalent of throwing on your favourite jumper for the first time in months as the temperature drops or sliding your feet into that pair of well-worn shoes that you can’t bear to throw away – it’s comfortable, easy-going and brings about the warmest of glows emanating from within. We’ve missed you, guys. We’ve missed you a lot.

Rating: 8/10

Blue Blood is out now via self-release.

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