I hate being stuck in work all day with no access to Facebook, Twitter and Blogger. Means I miss all the exclusives. (That and being bone idle, and generally having no access to exclusives).
So it's pretty common news by now I guess, yet given my continued support for The SAY Awards and the fact I'm genuinely delighted to see some albums on this list, I thought I'd post up about it anyhoo. So just pretend you haven't already seen the list and inject some sense of excitement into this post.
Firstly we should acknowledge the winners of the public vote, Twin Atlantic. Over 9000 people voted, which goes to prove that I'm out of touch with the public, and this means that Twin Atlantic's 'Free' makes the Short List. Fair enough, it isn't my cup of tea, but you can't argue with democracy. It would be interesting to know if the album was also picked by the judges OR if they had to bump someone else to include it...
Next shout out goes to Happy Particles, who defied logic by even making the Long List and now find themselves up £1000 and, in my opinion, in with a very decent shout of winning the grand prize. However the importance of their album 'Under Sleeping Waves' inclusion extends far beyond the monetary rewards. They are flying the flag for the unsigned, self financed and promoted musicians, those for whom making outstanding music is done in the confines of their bedrooms, in borrowed time in studios, paid for by gigging and working two jobs, the end results never in any danger of being what one would call 'chart successful'. I'm delighted to see Happy Particles make the Short List and gain even more exposure.
Also we are delighted that another two of our original nominations have made the Short List. They are of course Bill Wells & Aidan Moffat's 'Everythings Getting Older' and Remember Rememeber's 'The Quickening'. Both are brilliant albums and I couldn't complain in the slightest if they were the overall winners. Sad of course to see We Were Promised Jetpacks miss out on the final nod.
On last Monday's show I presented my 'dream Short List', and as well as 'Under Sleeping Waves', 'The Quickening' and 'Everything's Getting Older', we also plumped for King Creosote & Jon Hopkins, Conquering Animal Sound and Mogwai, so it's good to see them also on the final Short List. That's six albums out of ten that I would have chosen myself. Not bad.
Completing the list is Mungo's Hi-Fi with their album 'Forward Ever', Tommy Smith's 'Karma' and Rustie with the album 'Glass Swords'. I have to say I enjoyed Rustie's album when I listened to it, and can appreciate it's inclusion. Mungo's Hi-Fi are also very good at what they do, it's just that what they do isn't something I'm overly fussed about. And Tommy Smith's music is also off my radar. Yet the beauty of The SAY Awards is that it completely inclusive of all genres and that shows in the Short List.
My one gripe is the seemingly inexplicable exclusion of FOUND and their brilliant 'factorycraft' album. At least it proves that Stewart Henderson, the brains behind The SAY Award's and also head of Chemikal Underground to whom FOUND are signed, isn't exerting any influence over proceedings! I jest of course, but I'm genuinely shocked that FOUND did not progress into the Short List.
So that's my 2 cents. There's now two weeks on Monday for you to listen to each album again via The SAY Awards website and app. Once that is all over, it's just a hop, skip and jump to the Award Ceremony and the crowning of Scotland's Album Of The Year 2011. Here's the list in full (in alphabetical order):
You the good public were invited to vote for your favourite album for The SAY Award longlist on Monday. The votes are now in, and the Shortlist of ten will be announced tomorrow. On Monday's show we played a track from our ten picks, as well as plenty of great new music from Plastic Animals, Satellite Dub, PAWS and more! There's also a track from Plum whose album we recently reviewed, a Peenko Friday Freebie and some previews of Stag & Dagger which takes place on Saturday. Enjoy!
It's been over two weeks since The SAY Awards Long List
was announced and hopefully you've been busy familiarising yourself
with the unknown quantities that it threw up. As there's also now less
than two weeks until the all important public vote, and with the winner
of said vote guaranteed a place on the Short List of ten albums,
there's a lot at stake (£10,000 to be precise!) As one of the 100
nominators for the SAY Awards, we were chuffed to see four of our five
selections make the Long List. And we've decided to give you the
low-down on each of these four albums.
That isn't to say that the other 16 albums are not worthy of your vote
or being the overall winner. Indeed there's plenty of other worthy
contenders in our eyes, and we'll come to them in due course. We all
have our favourites and these four albums happen to be mine. That said
the most important thing is to make up your own mind and you can do that
over at the SAY Awards official site.
Without further ado, here's the second of our choices, 'Everything's Getting Older' from Bill Wells & Aidan Moffat
Right from the off it should be stressed that this record should not be looked upon as solely an Aidan Moffat record. Opener 'Tasogare' should destroy that illusion straight away, with it's emotional outpouring from Well's piano. Released on Chemikal Underground on 26th April, 'Everything's Getting Older' has probably been my favourite album of 2011 since buying it. Even at the tender age of 26, I find myself identifying with the gloomy Moffat at times. It's an album of unparallelled insight, beauty, humour. Fans of Moffat will click with his usual silver tongue, demonstrated especially on 'Ballad Of A Bastard' and 'Glasgow's Jubilee'. But whilst there is the underlying theme of 'ageing', penultimate track 'The Greatest Story Ever Told' is one of the most awe inspiring tracks I've ever heard. A complete understanding of this great adventure we call 'life', Moffat shows he can do beauty just as well as scathing. As for 'The Cooper Top', well no words I have can do it justice. It's quite simply stunning.
Why should 'Everything's Getting Older' win The SAY Award 2011?
This, ultimately, is the question that I had to ask myself when
nominating the album, and one which you should ask when deciding to
vote, or not vote, for it. 'Everything's Getting Older' is as honest an album as you may ever hear. It's full of grown up, real life emotion, the kind that many of us will encounter one day. Moffat has no problem describing his flaws either, and that takes some doing. Musically, with Wells at the helm, the beauty of the music matches the raw emotion of the lyrics. It's a partnership made in heaven, and this album for me is the one of the list which tells the most about life.
Finally, if all of the above isn't enough, we caught up with Bill Wells to
pose a few questions about the whole proceedings. Special
thanks to Bill for taking the time to answer. Have a read below.
Hi Bill. how are you?
Not bad.
Congratulations on 'Everything's Getting Older' being longlisted for The SAY Awards. How do you view The SAY Awards as a whole?
Thanks.
I would say it's undoubtedly a positive thing, especially as there has obviously been no little time and effort
taken to ensure that it avoids the cliquishness of most of these types of award.
It's heartening to see that it really does feature a very broad range of styles of music and includes bands who have little or no record company backing.
Scots are notoriously self deprecating. How important in your view is The SAY Awards in terms of highlighting the talent that spans across many genres here in Scotland?
I would like to think that this is it's main purpose rather than being just a competition.
The additional promotion and exposure granted to the bands even which have made it thus far
is substantial.
We have a tiny nation bursting with talent, yet not often do we shout about it. Do you think a lack of a sense of self-importance helps nurture better music?
I don't know that a lack or abundance of self importance makes much difference, it really depends on the artist.
However I do feel that there is a very down to earth attitude here that encourages a reasonably high standard regardless
of genre.
A lot of people, rightly or wrongly, don't see industry awards as a positive thing. As musicians how affirming is it to have your work recognised with nominations and awards such as this?
I do think that people generally like competitions and awards
so it's an immediate way to connect and create interest and hopefully lead a new audience to the music itself.
The lenghty creation of 'Everything's Getting Older' is well documented, what are the resounding positive memories you have from creating this album?
I suppose putting it all together after we had finished recording and thinking it felt like something special.
Take yourself out of the running, who would be your choice for The SAY Award 2011?
Since I still haven't actually listened to everything I'll pass on that.
As far as the future goes, are there plans for further collaborations?
I don't think we stopped, we've already done a couple of one-off tracks this year and there will be a full length album, eventually.
Have a listen to 'If You Keep Me In Your Heart' below. And purchase Bill
Wells & Aidan Moffat's album 'Everything's Getting Older' here.
A week ago The Scottish Album Of The Year Awards were announced unto the world. The SAY Awards as they have affectionately become known are the brainchild of the Scottish Music Industry Association led by Stewart Henderson, co-founder of one of Scotland's finest record labels, Chemikal Underground, and former bass player in The Delgado's.
The awards provide Scotland with something that a community as diverse and talented as ours has been missing for some time, an independent, respected and recognised award which will hopefully engage those outwith the community to listen to, enjoy and ultimately purchase the excellent bounty of albums produced and made by artists on our very doorstep.
The whole process is broken down into four main steps. Here's a brief breakdown of how things will transpire in the coming weeks:
Nominations
This is where the process begins, and this part has already been completed. The SAY Awards asked 100 impartial and independent people from all aspects of the music industry to nominate their top five albums released by a Scottish artist during 2011. These nominators include DJs, promoters, music retailers, journalists, radio producers, venue owners and bloggers. The team have taken great care to choose a extremely diverse and representative batch of people to ensure that The SAY Awards are not simply a old-boys-pat-on-the-back club, which is why people such as record label owners, band members and managers have been respectfully left off the list. With 100 different people choosing their top 5 albums, there's the potential for a up to 500 different albums to be represented at this stage. For a full list of who had their say have a look here. You may notice Scottish Fiction on there, but more about that later.
The Long List
Once the 100 nominators have submitted their choices, they are then scored as such. In order of preference a nominators first choice receives 10 points, second choice 8 points, third choice 6 points, and you get the idea. The top twenty scoring albums will be announced on Thursday at 9:30am as the official SAY Awards Long List. The Long List albums will be given special promotion via the SMIA, retailers and perhaps more importantly The SAY Awards App. The App lets you stream each album in full over the course of four weeks. You can recap on the weeks albums at the weekend, and stream all twenty on May 14th whilst you vote for your favourite. The App also lets you purchase each album via iTunes or directs you to your nearest music shop to buy it, plus lets you interact via Facebook and Twitter about your thoughts on each album. Never before has a Scottish music award been so interactive, engaging and highly supported by retailers.
The Short List
How do you get from a long list to a short list you ask? Well it's at this stage that the expertise and knowledgeable opinion of The SAY Award judges are called upon. The panel of 11 judges, again drawn from respected and impartial experts in their musical field, will consider the musical and artist merits of each Long List album and put their ten favourite through to the Short List. Sales, fan base and chart positions are of no consideration here, it's purely about the music. And to keep things as engaging as possible, the public are asked to vote for their favourite over the 24 hours of May 14th. If the album the public votes for is not included in the judges top ten, then the judges must make way for the public choice. Expect at this stage plenty of 'please vote for us' posts on Twitter and Facebook, as those battling for the £20,000 top prize look to get their way onto the Short List by hook or crook.
Winner
Whilst there can only be one winner, we have all seen the exposure that being a Mercury Nominated album gets an artist. Yes it's not all about money and album sales, but let's not pretend that those things do not matter a hell of a lot. One objective of The SAY Awards is to get Scottish music out to the ears and homes of more people. Each finalist will also receive a prize of £1,000 with the top album getting a whopping £20,000! The judges are called about once more to reveal who, from the Short List of ten, will be crowned Scottish Album Of The Year 2011. All of this will happen on June 19th at an awards ceremony held in Film City Glasgow. Be ready for plenty of disagreement, calling the judges stupid uncultured swines, and perhaps humble Oscar-esqe acceptance speeches.
The thing with ANY type of award ceremony is that there will always be naysayers and nit-pickers. The SAY Awards aren't perfect (to be fair I don't think they ever claimed they were) and won't suit all tastes, yet it's a real chance for the Scottish music community, bloggers, artists, record labels, journalists and retailers alike, to join behind the mantle of what could, and hopefully, will become a well respected mark of artistic credibility. For each person who listens to an album they may never have heard of before, then that is a small victory. For the winner, some real funding to let them produce more music against the unrelenting tide of financing music in a shark like economy. For us Joe public, the chance to debate, argue or agree with the records that made it, and those that didn't.
Scottish Fiction managed to catch Stewart Henderson for a few quick questions about The SAY Awards.
What makes the SAY Awards different to the Scottish award shows that have existed in the past?
Before going into any unique characteristics of the Scottish Album of the Year Award, we should be very clear that it has not been set up to be in competition with any other award in Scotland (or anywhere else for that matter). Taking The Scottsh Music Awards (Tartan Cleffs) as the highest profile event in Scotland at the moment, they have a well-established and successful ceremony that, year on year, raises tremendous amounts of money for Nordoff Robbins and delivers an entirely different 'prodcut' from the one we're proposing through The SAY Award. I think that for our industry to be truly representative of music fans up and down the country, we need the diversity of tone and style that defines our music to be reflected in our events as well.
We've been very fortunate with The SAY Awards in that we've been entrusted with significant resources to get it off the ground. That, and the contacts we've been able to tap into through the SMIA, has helped us pull something together that, I think, has a greater sense of scope and scale than anything attempted previously. By focusing solely on albums, we've been able to concentrate our efforts on (hopefully) delivering a diverse and progressive long list and, crucially, giving those albums a platform at media and retail that will materially benefit the artists. Having the unified support of independent retailers as well as front window displays in every HMV store in Scotland, racking in FOPP and online promotions through iTunes and Amazon is enormously important and will shine a light, not just on these albums, but on Scottish music in general. If that encourages music fans to reflect on the strength and diversity of our artists then the SAY Award will have done its job.
What would you say to those who question the use of a public vote as part of the shortlist selection process?
Read the format notes more carefully. I think we can all agree that an award that's decided exclusively by the public would be wide open to abuse and completely incapable of delivering the type of long lust we're after. That said, an award that excludes the public completely would be wide open to the criticism that it was an elitist closed order that marginalised (or worse, dismissed entirely) the opinions of thousands of articulate, open-minded music fans.
The long list is made up of the twenty highest scoring albums from 100 Nominators' Top 5s; the public, once they've listened to all twenty albums, can only vote for one of those albums; the most popular album from the long list (as voted for by the public) will be placed automatically on the short list; the judges may have placed that album on the short list already; if they haven't, then they'll have to demote one of their Top 10 choices to make way for the public favourite; the judges will ultimately decide on the winning album.
At Scottish Fiction we focus almost exclusively on Scottish music. As part of the SMIA, what is your view of the Scottish music culture?
I think the diversity and quality of music being released by Scottish artists at the moment is, frankly, extraordinary. Music plays such an important part in all our lives that it really shouldn't come as a surprise we're so self-assured and bold in the type of albums our artists are making.
There's some serious cash on offer for the winner, and with the app and the commissioned art prize, this all seems like a behemoth in terms of organisation. Is this a long term venture akin to the Mercury Music Prize?
The SAY Award is absolutely a long term venture. There's no way we're going to get everything right in our first year, far from it, but we'll hopefully be able to establish the name and format of the award moving forward and convince people that it's something worth supporting and, more than that, to be proud of.
Ultimately what would be the aim of the SAY award?
To establish, for the long-term, a credible platform from which Scotland's best music can be promoted and championed.
So to round things off I'd like to present the albums which Scottish Fiction put forward as our favourite from 2011. They may not all reach the Long List, although they should (it's started already!). But where ever these albums end up I think each of them are worthy of some more investigation from yourself if you have not already done so.
I'm posting this with a slight sense of smug satisfaction, which is probably more down to luck than any genuine music critiquing skill on my part. Lloyd 'Peenko' Meredith compiled his third annual Scottish BAMS Awards (Scottish Blogger And Music Site Awards) totting up votes from 47 of us music type people across the country.
After posting my Top 30 International Albums and my Best Scottish Albums (here and here) the more observant of you will noticed that my top two Scottish albums (The Moth And The Mirror and Bill Wells & Aidan Moffat) are both in the BAMS top 10.
So without further ado, here's the list in full, plus a lovely interview with Messrs Wells and Moffat.
=8 - The Moth And The Mirror - Honestly, This World
Congratulations Bill and Aidan, you are this years' winners of the Scottish BAMS award, how do you feel? Does this rate as a career highlight then?
Aidan - I think it might be the first award I've ever been presented with, with the exception of the joint 4th Year English Prize at Falkirk High in 1989, so it's very exciting indeed. Not sure about a career highlight – that accolade is always reserved for the work itself, and Everything's Getting Older is certainly one of my favourites, yes.
Bill - Feels good - though when it dawned on me, obviously quite some time ago, that awards are only ever decided upon by other people, not by some almighty, all knowing, arbiter of taste and quality looking down from the clouds, I thought it always best to never get too excited about any of them coming my way, not that there's been much occasion to, right enough.
How did you end up collaborating together in the first place?
Aidan - Bill says we found ourselves at the same table in a pub and I immediately asked him to play on some Arab Strap songs. I have no recollection of this at all, but at the time I was very much in love with his Also In White album so I've no reason to doubt him. After he played on the Monday At The Hug And Pint album, we did one song together and then took years to book a studio to do some more. We always seemed to have other things to do, but I'm glad we waited because I can't imagine the album any other way. It would've had an entirely different theme and tone if we'd finished it in 2005, and I really don't think it would have been as good from my side.
Bill - Indeed this is what happened - I was very surprised and flattered actually because although I was a huge Arab Strap fan, and though we were all from Falkirk, or, more likely, because, it never occurred to me that we'd ever all be in a studio together, so it did, for me at least, even at the time, feel like quite an occasion, and looking back, even more so now.
I am guessing that you've spent a lot of time in each others' pockets this year; has this bonded your love for each other, or are you sick of the sight of each other?
Aidan - We haven't really spent that much time together at all, to be honest. We haven't done a lot of touring, although what we did do was quite hard work. There's more gigs being planned for next year, so hopefully we'll have more to do, but it's not as though we're a young rock band out on the road and in the NME every week, there's not a lot of fuss or constant attention to deal with; there's been a minimum of upheaval, thankfully.
Bill - Yeh, sorry, you're guessing wrong.
If the love is still there, are there any plans to work together again in the future?
Aidan - We've just started talking about our second album now, so it will happen but we're not sure when. Certainly not next year, we've both got a couple of albums each planned for 2012, so we might try and have it ready for 2013. There's no rush though, it'll be ready when it's ready; the last thing i want to do is dive into it and force it out, that's why a lot of second albums these days are a bit shit. Bands and labels are desperate to hold onto any momentum and profile a new band has, but we're lucky in that respect because we're not really a new, young band; we've both been making records for ages and there's no pressure on us at all. So 2014 at the earliest!
Bill - Just to add that I'm really looking forward to this, the musical ideas for first album were pretty much all on one cdr I gave Aidan ages ago, then the EP happened pretty quickly this year so, personally, I'm more hopeful for the 2013 result but, whatever and whenever, it'll be great to get working together in the studio again.
Seeing as we are on the subject of albums of the year, what have been your personal favourites of 2012?
Aidan - I would've said Slow Club's Paradise a couple of weeks ago (which I still love) but it's been pipped at the post by the last-minute release of Josh T. Pearson's limited live LP, The King Is Dead, which I think is far superior to his studio album. There's been a lot of very good music this year though, but my memory can never work when it's put on the spot, sorry!
Bill - I look at these end of year lists and realize I haven't heard so many of these records, so it feels like a very uninformed opinion. The last time I was asked I said the re - release of Annette Peacock's 'I'm The One' which is truly one of the greatest records ever made. However after writing that I realized that "That's Reality' by Yumbo, which is Koji Shibuya's (bass player in Maher Shalal Hash Baz) Pop masterpiece, came out in Japan in early 2011.
A huge thanks to Lloyd for including my somewhat dodgy opinions in his poll, and do check out Peenko on a regular basis.
It is with a tear in my eye that I present to you my final list of the list making period. I've already given you my Top 30 International Albums of 2011 and I've unveiled numbers 20 to 11 of the Best Scottish Albums of 2011.
So all that remains is for me to wipe the sweat from my brow, put down my earphones, and present to you dear reader (maybe plural next year), my top 10 Scottish albums of 2011*.
* The usual disclaimers apply - Best means favourite, I've not listened to everything (scandalous I know...) and I welcome disagreement!
10. King Creosote & Jon Hopkins - Diamond Mine Nominated for the Mercury Music Prize 'Diamond Mine' was released back on 28th March. Certainly it's profile has been catapulted by the Mercury mod, but those of us who have loved KC's music for a while will not be surprised by the quality of this album. It's got such quality in depth, heartfelt lyrics and with Hopkins on board the production is second to none.
I was supposed to head along to the Glasgow launch night but fate had other ideas. However nothing could prevent this album, released on 30th May, from being a big hitter this year. Right from the off 'Kamikaze' dispells any possibility that this might be a nice subdued album and rips yer face off and rattles your bones. I've been lucky enough to see them twice this year, and wow is all I can say. 'Fault Lines' is a stunning debut, a stunning album, just stunning. Stunning.
So technically ZVG are not a 'Scottish' band. Yet they've ambled about the Scottish music scene for some time now having formed in Glasgow back in 2006. And in signing with influential Scottish label Chemikal Underground and having been produced by Stuart Murdoch and Paul Savage, I'm hypocritcally* claiming them as 'Scottish'. Released on 14th February on the afformented Chemikal Underground, it's a quirky, fun-filled, jolly good fun album.
* read about how I slammed STV for including Snow Patrol in Scotland's Greatest Album.
Seminal post rock Gods Mogwai returned on Valentines day with their seventh LP released on their own Rock Action Records. One of the best named albums of the year, and containing the best named song of the year (you know which one), it's the same beastly guitar driven rock that we've come to know and love. Highlights include Rano Pano, San Pedro and Mexican Grand Prix.
(Buy the CD here, and also available from all good retailers and online stores)
6. FOUND - factorycraft Released on Chemikal Underground on 14th March lead single 'Anti-Climb Paint' may have been released on a edible chocolate 7", but there's nothing gimmicky about this album. factorycraft is a more stripped back affair, with lead singer Ziggy Campbell's story telling coming to the fore. It's inventive, which one would expect from an art school band, and it's catchy and intruiging enough without being pretentious.
Released on Aksatak Records on 14th November, even though I've only been listening to this album for three weeks before making this list, it's absolutely brilliant. At times it's almost effortlessly brilliant, as the Afro-Caribbean influences sweep throughout the album. But it's not contrived or a premeditated 'sound', it's simply a celebration of sounds and Fully Cocked manages to sound fresh and by references to Auld Reekie maintain a connection to their hometown.
I have a confession. When Lloyd 'Peenko' Meredith emailed asking for my choices for the BAMS this was number three. However I have since bumped my previous number four up one, due to repeat listening, meaning WWPJ come in at #4. That should in no way detract from what is by all accounts a solid follow up album. Released on 4th October again on Fat Cat Records, it was probably one of the albums I was most anticipating this year. It sounds better than 'These Four Walls', but some of the songs lack a little of the punch of the previous. I feel bad that I'm now comparing this album to the first so I'll stop. Opener 'Circles And Squares' has the same vibe as 'Quiet Little Voices', preview track 'Act On Impulse' hooked my interest with its simplistic beat and showing off the band's penchant for long intro's. And the lead single 'Medicine' is as strong a song as the band have ever released.
After bigging them up in the last section, I really should explain why I've bumped RR up a place since the BAMS. I've hardly had the album off rotation in the last few months. Released on Mogwai's Rock Action Records on 26th September, the album is musically an orchastrated work of art. Keeping the simple method of layering over a repeated beat, this time round, Graeme Ronald has added in fuller sounds by recruiting a band of instrumentalists to his side. At it's peaks, of which there are many, the music soars high, even though there's a tinge of melancholy which was absent from RR's debut. This is music for grown ups.
I review this album a while back (read here) and reading it back I was rather gushing with praise. And damn right too. I'll direct you the the review for a more in depth discussion, but to sum the album up, it's an album which engulfs you. Capturing you in its folky arms, once invested there is some real post punk angst released, 'Boxes' is a brilliant example of this. Released on 7th November on Olive Grove Records, this is an album which ticks all the boxes I wasn't even expecting it to.
Right from the off I want to stress that this record should not be looked upon as solely an Aidan Moffat record. Opener 'Tasogare' should destroy that illusion straight away, with it's emotional outpouring from Well's piano. Released on Chemikal Underground on 26th April, 'Everything's Getting Older' has probably been my favourite album of 2011 since buying it. Even at the tender age of 25, I find myself identifying with the gloomy Moffat at times. It's an album of unparalled insight, beauty, humour. Fans of Moffat will click with his usual silver tounge, demonstrated especially on 'Ballad Of A Bastard' and 'Glasgow's Jubilee'. But whilst there is the underlying theme of 'ageing', penultimate track 'The Greatest Story Ever Told' is one of the most awe inspiring tracks I've ever heard. A complete understanding of this great adventure we call 'life', Moffat shows he can do beauty just as well as scathing. As for 'The Cooper Top', well no words I have can do it justice. Watch below. And buy this album.
Paisley Underground is a programme with is running over three nights. October 7th saw the elder spokesmen of the disgruntled generation Bill Wells and Aidan Moffat play Paisley Arts Centre. Their album 'Everything's Getting Older' is still my favourite offering of the year so far, and with Paisley Council intent on reminding us that Christmas is coming by putting their decorations up in October, it doesn't seem likely to be bettered.
Wells, Moffat and the band make their way onto the intimate stage. It's been a while since I last sat in the small theatre, and on that occasion Widow Twanky threw sweeties into the crowd. So no sweets this time, but lots of witty remarks, humour and plenty of musical genius.
Set opener 'Ballad Of The Bastard' allows Moffat to ease himself in with his sore throat. Straight from the start Moffat had the crowd in his hand, teasingly mocking the stream of latecomers into the theatre. The next track is the haunting 'Dinner Time' which gets more creepy everytime I hear it.
Moffat forgets to introduce the band's now infamous cover of Bananarama's 'Cruel Summer', however I'm sure we all recognised it! Feeling rather confessional (a theme which will crop up again) Moffat explains that his sheet music and lyrics on stage are the musicians version of a comfort blanket. 'The Copper Top' is a sublime piece of music, and the sound is perfect in the small theatre. That the venue used to be a church and still has graves in its grounds is all the more fitting considering the songs video.
'Keep Me In Your Heart' follows, with the rantings of 'Glasgow's Jubilee' up next. It's a more stripped back version than on the album, which as Moffat explains is due in part to the lack of a drum kit. However, there is the promise of a Christmas show in Glasgow, which is unannounced so far.
The penultimate track 'The Greatest Story Ever Told' is the heart warming yin to the cynical yang which peppers Moffat's writing. It's affirming and a timely reminder that despite the bad things which no one prepares you for, love really is "the greatest story ever told".
One of the highlights of the evening came in the encore when Moffat had a sudden onset of the giggles, performing 'Man Of The Cloth' the story of a sobering accidental confession which occurs after a halloween party. It's a great song, and the resulting hilarity is understandable given the lyrical content. That and set closer 'Box It Up' are available on forthcoming 'Cruel Summer' EP.
Great gig, great night, great laugh. Have a listen to 'If You Keep Me In Your Heart' below. And purchase Bill Wells & Aidan Moffat's album 'Everything's Getting Older' here. Thanks.
Unlike The Pop Cop, I think 2011 has been a pretty good year for albums so far. My theme on Monday night's 'Scottish Fiction' show on Pulse 98.4 FM is 'The Best Of 2011, So Far...'
Here's my half year review of my favourite 11 albums of the year so far. 11? Yeah I thought I'd be different. And even though the blog is focused on new Scottish music, I've tried to present a well rounded picture, as you'll see with the inclusion of several big names, several Americans, and even some music from Englandshire. In no particular order... Bill Wells & Aidan Moffat - 'Everything's Getting Older'
Lyrically it's a raw open wound which has festered into middle age and has no qualms about letting it out. Musically it's an album of such atmospheric presence, and beautifully structured songs. If I had to pick a favourite, this would be it. Read a full review here.
The long awaited second album finally dropped in June, despite a mistaken early release on iTunes in May. Each song on the album represents a place, as you'd probably guess by the song titles. Have a listen to lead single 'Calgary'.
Arising from one of the unlikeliest of pairings, Horror's frontman Faris Badwan joins forces with Italian-Canadian soprano Rachel Zeffira. Influenced by '60's girl groups and Phil Spector's sound, 'Cat's Eyes' has been critically well recieved. Hopefully a Mercury Music Prize Nomination will be in the post.
I absolutely loved Noah And The Whale's last two efforts, and when I heard the single L.I.F.E.G.O.E.S.O.N. back in January. It's an album that celebrates life, and all that's good with it. Which is no bad thing.
7th studio album from Glasgow's post-rockers, features a belter of a title as well as rare vocals, and surprisingly less heavy guitars than previous offerings. Certainly a gear shift down, it's more melodic and musically grown up.
London lo-fi outfit Yuck have been making a name for themselves with this album. One of the best releases of 2011 so far, the band were tipped for big things early on, featuring on the BBC's Sound Of 2011 list.
Another artist to featuring on the BBC's Sound Of 2011 list was Anna Calvi. Release in January of the year, Anna Calvi has been making a splash on the festival scene already this summer. A wide range of influences have gone into her music, creating a unique and multi layered sound.
There's something special about Fleet Foxes. They seem to effortless weave creative lyrics in with suburbian folk and vocal harmonies, and 'Helplessness Blues' represents a maturing sound which stays true to their roots. Highlight of the album for me is track of the same name, 'Helplessness Blues'.
Single 'Anti-Climb Paint' may have been released on a edible chocolate 7", but there's nothing gimmicky about this album. factorycraft is a more stripped back affair, with lead singer Ziggy Campbell's story telling coming to the fore. Read my earlier review here.
After a what can only be kindly called a cock-up, and the album being distributed freely by Song, By Toad via e-mail, I almost feel obligied to include it. However, I'm glad I did get it, because it's a wonderful album from a fantastic Scottish band who deserve all the recognition they get.
Anyone who has visited the T In The Park website over the past few weeks will have heard the thumping 'Trajectory'. They may not have known that it was a song by Glasgow's own Song Of Return who were born out of the ashes of Union Of Knives. And what a return it is, like a phoenix from the flames.
A night of firsts all round for me on Saturday. Getting to see a live performance of one of my albums of the year so far, 'Everything's Getting Older' by Bill Wells and Aidan Moffat is treat enough (read my review here). But throw in my first ever visit to Easterhouse, and you've got me brimming with enough anticipation to kill a moose.
Held in Platform in Easterhouse, as part of the Glasgow Jazz Festival, we departed on a rather smokey bus from Mono. The venue itself was an auditorium in Platform, an arts initiative run by Glasgow City Council. My first thoughts on entering the auditorium was of an arena prepped for a fight to the death, Spock vs. Kirk style.
Jazz trombonist, Annie Whitehead took the stage first, and treated the audience to a 10 minute trombone solo. I hate to come across as uncultured, but I really didn't know what to make of it. At times it was smooth freestyle jazz, punctured by staccato, at others a powerful display of the noise this particular brass instrument can create. However, I couldn't shake the oddness of a woman essentially making fart noises with a trombone onstage. Another first I guess.
We headed upstairs to the bar, decanting our bottles into the obligatory plastic cups, and as such drank our way through Bill Wells Ensemble, who took the stage after Annie Whitehead. Heading back to the auditorium, we did however catch the end of their set, which was littered with musicians, including the afformented Whitehead, and Belle And Sebastian's own Stevie Jackson on guitar. The vibe was good, although broken up by another flatulent trombone solo. Very laid back, Parisian style jazz. The trumpet solo was much more enjoyable.
After a brief wait, the main act takes to the stage. Joined by a double bass, and trumpet, Bill Wells settles himself behind the piano, whilst Aidan Moffat flits to the front of the stage, wearing shorts and in turn making me wish I had done so. Predictably, although not in a bad way as Moffat himself acknowledges two songs in, the setlist follows the album running order. 'Tasogare' begins proceedings, leading naturally into 'Let's Stop Here', for which Moffat takes a well positioned chair. Mixing things up a bit, 'Dinner Time' get's an early airing. The forbodding feel of the song hangs in the air, coming across so much more in this small auditorium. The closing line of the song, "have ye had yer dinner yet", resonates like a joke round the room.
The joke however is short lived, as a deep thud alerts Moffat, and the audience, to the disaster at the back of the round. The double bass has snapped two strings. Don't you just hate when you forget to pack a spare double bass? The band have a short lived panic, and whilst a suitable solution is being fretted about off stage, Wells and Moffat remain to treat the crowd to an impromptu cover version of Bananarama's 'Cruel Summer'. Delivered with conviction, it's a pleasing distraction for the crowd. And timed well as emergency bass guitars are carted onstage. A huge thank you is offered by Moffat, and on behalf of myself for what was still to come, I echo that sentiment here.
Throughout proceedings Bill Wells hides behind the piano at stage left, however there is no hiding from his musicianship. Normal proceedings begin, and if anything the set-up has a more rock 'n' roll feel to it with the addition of bass guitar. A trumpet solo during the next song, harks back to the jazz festival for which we are all gathered. 'The Copper Top' is met with a ghostly hush from the audience, who are captivated by the romance and aura of one of the best songs from the album.
Another favourite of mine, 'Glasgow's Jubilee' gets it's first live airing. Moffat reminds us of a forthcoming full band tour, whilst also pointing out that the song is lacking a full band perfomance. It does miss some of the same punch as from the LP, however is still strangely hypnotising as we hear Moffat recall(?) tales of shameful, sorrid and lustful trysts. 'The Greatest Story Ever Told' is another belter of a song, and each time I listen to it, I hear something more than the last listen. Advice is bestowed upon our captive ears, and who can argue with solid tips like "look after yer teeth"?
As the gig comes to an end, we are treated to two new songs, the first about sex from a priest, the second about how life turns out exactly how it's expected. It seems strange to say, given this is the duo's first album, but it's classic Wells and Moffat. Last song of the night is album closer, 'And So We Must Rest'. A perfect close to a truely excellent showing. Sign me up for Paisley Arts Centre on October 7th.
In the words of a terrible song by a terrible band, "it's been a while". But you can't keep a good secret club down! Armed with fresh impetuous and some cash lining my pocket, I headed to Monorail to see what can be found.
Venue
I've blogged about Monorail before. They're lovely people. And they are music people. Monorail have a New Releases section just as you walk in the door, which I love because quite often when I go into record shops, my mind goes completely blank as to what has been released recently. A quick browse through this quite surprisingly doesn't throw up anything, so I begin my quest alphabetically. Monorail signpost their racks with bands of note, and then the remaining section of a letter is everything else that begins with that letter. It's a nice system, and by seeing artists I often am reminded of things I might be looking for. They also have their own recommendations scrawled on the chalk board behind the counter. They also display recent and recommended releases on the selve behind the till as well. Which is good, as I'll come back to.
Purchases
Racks A-R proved unfruitful. However, I struck gold in 'S'. I've always said all the best bands start with S. A signed copy of Sons And Daughters new LP 'Mirror Mirror'? Why thank you! After 2008's 'This Gift' the band have returned to their signature dark/indie/almost dirty stripped back sound, which saw them garner success intially. Released on Domino, 'Mirror Mirror', kicks off with free download 'Silver Spell', which has that deep dark sound, and a pounding outro.
Single 'Breaking Fun' has a wobbly guitar intro (pardon my lack of technical knowledge) and is very Edwyn Collins / Joy Division influenced. Lead singer Adele Bethel's vocals are temptingly sex, with a hint of danger lurking in her voice. Showcased to perfection on tracks like 'Orion' and 'Rose Red'. The album has been produced by one half of Optimo, JD Twitch, and it's job well done on his part. Unlikely to be the album which pushes Sons And Daughters onto bigger things, but it certainly has pushed them back to better things.
Credit must go to the staff because also, quite correctly, in the S section was She & Him's debut LP 'Volume One'. Having got my paws on 'Volume Two' late last year, I absolutely lapped up their dreamy pop songs, and the fact the Zoey Deschanel voice is as beautiful as her face helps. 'Why Don't You Let Me Stay Here?' is an absolute breeze of fresh air, and a joy to listen to. Pop music should always be this fun. Beatles cover 'I Should Have Known Better' is done to perfection, a rare feat in my opinion, and the rest of the album represents perfectly the cover art of a sun.
Remember the stock behind the counter? Well it caught my roaving eye, and alerted me to the fact I still hadn't bought Bill Wells & Aiden Moffat's LP 'Everything's Getting Older'. So there it was. Sitting nicely on the shelve. With no prize tag might I add, which is cunning on the part of the owners, because I asked for it. And then found out it was £29.99. Ouch. But having taken it home and listen to it over and over and over, like a monkey with a minature cymbol, it's worth every penny. In fact it would be worth every penny for the album alone, but this behemoth comes with three vinyl's, a music and lyrics booklet, and a CD with all the music and bonuses as well. Value at it's best. As I said it would be worth it for the LP alone. 'Everything's Getting Older' is quite easily one of my albums of the year so far. It's an album of acceptance, of dreams relenquished and given up. An album of reminiscene, and remembering times gone by. It's an album of sheer beauty, such as opener 'Tasogare', which gently leads into the equally ambient 'Let's Stop Here'. It's an album of drugdery and sorrid tales, evidenced clearly on 'Glasgow's Jubilee' which tells the tale of sex amongst the inhabitants of the song, but underlying this tale is the mantra of "we could all be dead tomorrow". 'The Greatest Story Ever Told' is a humbling song, sung with compassion and love, reminding us that "we invented love". Despite the bleak falls of this album, each song has a message, a certain optimism that resonates after each listen. Undoubted highlight is 'The Copper Top'. Rather than ramble anymore, I leave you with it below.
The 25th Glasgow Jazz Festival takes place between over this weekend, having started on Wednesday 29th June and running until Sunday 3rd June.
Featuring a plethora of international artists, and a wide range of events for all ages, the highlight for me comes in the form of tomorrow's gig from Aiden Moffat and Bill Wells. Performing at Platform @ The Bridge the duo bring their critically acclaimed album 'Everything's Getting Older' for an airing in Easterhouse. I've absolutely loved this album since it's release in May, and to hear the gritty realism of tracks like 'Glasgow's Jubilee' and 'The Copper Top' in a, let's be honest. gritty part of town is something I'm relishing.
I also headed to Brel last night for my good friend Guillaume Rousere, better known as fledging electronica DJ Monsieur G, who had a short DJ set. Bringing a mix of French electronica, chill out and house, it was a relaxing atmosphere, very much in the ethos of the festival itself.
Check out full listings for the Glasgow Jazz Festival here. Also here's a track from Aiden Moffat and Bill Wells to enjoy.
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