Scottish Fiction Podcast - 5th August 2014 - Vinyl Mix

Crackle, crackle. 

An all vinyl show?  Is this the '70's?  Am I mad?  No, and quite possibly, but that's neither here nor there.  For a change I decided to do a special show this week featuring tracks from Scottish artists played entirely on vinyl.  And an inspired decision it was too, as it has resulted in this little beaut of a podcast you are now listening to.  Let's call it the b-side to our usual offering.  And like all good b-sides there's some rarities and surprises in store, from artists such as Meursault, Franz Ferdinand, The Twilight Sad, Belle and Sebastian and more. 


The State Broadcasters - Let's Make T-shirts
Honeyblood - Bud
The Pictish Trail - The Handstand Crowd
Franz Ferdinand - Get Up And Use Me
Dananananaykroyd - Black Wax
Meursault - Flittin' (Piano Version)
Stanley Odd - Chase Yirsel
Book Group - Year Of The Cat
Yahweh - Make Me Stop
Mogwai - Friend Of The Night
Tuff Love - Sweet Discontent
The Twilight Sad - If You Keep Me In Your Heart
Belle And Sebastian - Baby Jane


Subscribe/listen to the podcast via iTunes.

Scottish Fiction - 5th August 2014 - Vinyl Mix by Scottish Fiction on Mixcloud

Be part of the crowd

Crowd-funding has been around for a while.  Even the Statue of Liberty has crowd funding to thank for her platform on Liberty Island, built back in 1885 thanks to crowd-funding.  Over the past few years, and in increasing numbers since the world's biggest crowd-funding website Kickstarter allowed UK based projects to use its site in 2012, the number of musicians turning to their fans to fund their music has grown exponentially.

Of course music fans have always 'funded' artists music.  In the most overly simplistic model possible artists releasese album, fans by album, artists gets paid.  However as anyone who has ever released anything above a DIY demo tape will tell you, releasing an album costs money.  Money that you have no guarantee of ever getting back.  With record labels watching every penny going out, how do bands without any label backing avoid bankrupting themselves to put out their music?

Answer... Crowd-funding. 

For those not in the know, crowd-funding allows a group or individual to run a campaign to raise funds for a particular project.  That may be making a film, building a house, or releasing an album.  Donors can pledge a certain amount of money in return for certain benefits.  The end result being if the target is met, the project is funded.

What's important to realise however is that even at this stage (statistics show that over 50% of crowd-funding projects fail to reach their targets) is that musicians have not yet made any money.  What crowd-funding allows them to do is have a chance of making some money off the fruits of their labours, rather than going into hibernation to pay off the debts accrued from making the last record.

But what about fans?  How does it change the musical landscape for the people who buy the end products?  Think of it this way.  When you go into a record shop, you can choose any of the albums on the shelves.  The products are already there, the choice of which to buy is yours.  Crowd-funding allows you to choose which products to put on the shelves.

What is the potential in crowd-funding?  Where can it go from here?  Surely, as much as the traditional model of the music industry can be lambasted, the end goal for musicians is still to be 'signed' and paid by a label in advance to release their music.  With many labels pulling back in A&R and scouting, no longer taking chances on music that doesn't conform to market trends, and dropping artists after one or two 'below-expectations' releases, crowd-funding gives unsigned musicians the opportunity to put their wares out into the market and build a name for themselves. 

Whatever the future holds for the music industry, crowd-funding appears to be one of the few ways independent and unsigned artists can take the first steps into releasing albums, and you can pledge your bottom dollar, that as grass roots music fans, you'll be on the end of increasingly more crowd-funding campaigns.


Here's some current crowd-funding campaigns from Scottish musicians:

Rachel Sermanni - www.pledgemusic.com/projects/rachelsermanni

Pledge for a new EP Everything Changes.  Various goodies are available such as handwritten lyrics, signed vinyl and the opportunity for an acoustic house concert.  Pledging open until 27th January 2014

Meursault - www.kickstarter.com/projects/songbytoad/meursault-the-organ-grinders-monkey

Meursault are heading to the USA.  Namely for SXSW, however the band plan to do a full east coast tour and finally 'crack' America.  To help fund this they are releasing a new album The Organ Grinders Monkey with various ways for pledgers to contribute to the album, such as suggesting a cover, or a private gig.  Pledging open until 6th February 2014

Sefiros - www.kickstarter.com/projects/sefiros/sefiros-dither-new-album-release

Electronic producer Bryan Henderson has been making music for nearly 10 years under the moniker Sefiros.  This project is to fund his eight album, but would be the first to be released as a physical project.  The album is called Dither, and fans can receive signed CD's, special artwork and t-shirts.  Pledging open until 14th February 2014

How To Swim - www.pledgemusic.com/projects/howtoswim2013

With their second album Niagarama recorded and ready for release, How To Swim are looking for funding to put their album out professionally on vinyl, and to be able to properly promote the release.  There's some interesting pledges available including paying for the band to clean your house!  Pledging open until 10th February 2014

Doune The Rabbit Hole - Review

Review by Bobby Motherwell

 
Friday

When asked if we would like to attend the annual Doune The Rabbit Hole festival for Scottish Fiction, both myself and Peter had no hesitation.  As someone who is not known for festival going – a one day visit to T in the Park during the Strathclyde Park years being my only foray – I was delighted to sacrifice my festival virginity for such an interesting line up.

And so it was that I set off on Friday morning to take in Friday afternoon’s festivities on my own, to be joined later in the day by my wife Arlene and son Louie, and on Saturday by Peter.  Having decided to pitch the tent in the family section in the hope that a more peaceful sleep would be assured, I set off to catch the first act of the day and settle into the cosy, laid back zone that this quirky festival creates.

With my programme in hand and a time slot allocated to each act – which I’m led to believe is a welcome structure new to DTRH – I grabbed my beer, fended off the wasps and sat down to take in Lori McTear.  Lori is a Glsgow singer songwriter who creates some fine melodies and crafted lyrics and was not in the least fazed by the dubious honour of opening the main Jabberwocky stage, even managing to engage the small afternoon audience in some lyrical participation.

Next on the main stage were Garden of Elks, a wonderful 3 piece from Glasgow who really stepped up the tempo with their brand of indie/pop and offset conflicting harmonies.  By this stage the sun began to make and appearance and I was settling into my new surroundings just fine.

In the Baino stage, The Skarsoles were pumping out their very own mix of ska and balloon modelling, yes you read that correctly, balloon modelling.  A talent which is not only unique, but one which went down well with one young chap who wielded a balloon sword for the duration of the gig.

Back to the Main Stage to catch We Are The Physics.  And very glad I was too that I did.  Announcing in advance that they would like to “apologise for the racket” and that they were “so sorry”, they then produced a magical pop set which reminded me of a Devo for the modern age.  Brilliant pop/punk mixed with great chat, energy and at times hilarious lyrics blended into songs which so gloriously de-constructed themselves, the band went on to announce that the Beatles were the third best band.  Then they burst into Goran Ivanisovitch. Lovely stuff!

During the course of the day, I managed to flit between stages trying to take in as much as I could and managed to catch some of No Island, Man Get Out and Haight Ashbury before settling myself down to catch the four big fish I had been waiting for: Rick Redbeard, Meursault, PAWS and Miaoux Miaoux.

Rick Redbeard, returning to DTRH this year but without the rest of The Phantom Band which he fronts as his day job, opened his set to an almost empty Baino stage.  The notes rang out from his guitar finger-picking around the grassy spaces and within seconds the tent had filled up.  Rick proceeded to enthral us with his beautifully crafted tunes and lyrics from his 2013 album No Selfish Heart – a stick on contender for album of the year.  With tunes like Old Blue and Any Way I Can, this was by far the best of the festival so far. Excellent stuff.

Meursault, in the meantime began their set at the Jabberwocky tent, so a quick shift across the field was required, stopping only to pick up a beer from the beer tent.  It has been some time since I last saw Meursault – a Jonnie Commons gig at the old Captains Rest when the Deskjob album was released - and much water has passed under the bridge as they say.  Now quite comfortably steeping up to the festival mark and out of the dank cellar venues, Meursault performed a stellar set with Lament for a Teenage Millionaire a stand out, received and responded to by the adoring audience.

PAWS. What can you say about a PAWS set?  It rocked and bucked and threatened to obliterate all that encroached upon it.  A fabulous riot of a sound which complimented the ensuing darkness outside.  With critical acclaim received around the release of their 2012 album Cokefloat, PAWS are undoubtedly a band on a mission and with the creativity and kick ass attitude to execute said mission with some aplomb.  A raucous set which was topped with a fabulous rendition of Meursault's William Henry Miller, PAWS are now a 'must see' on any gig list.  A quick chat with Phillip after the gig revealed that he was waiting for a lift from Rick Redbeard to head straight to the airport, Stuttgart the destination, for some gigs.  I’m sure it went well.

Miauox Miaoux closed the day on the main stage and by this time the excitement of the day and the far too close proximity of bar to stage, was taking its toll on me.  A more perfect end to a festival day you could not wish for.  Julian Corrie was in the company of a festival crowd who were ready to dance and sing their socks off.  And they did.  An utterly stunning set, culminating in the mesmeric Hey Sound, the crowd begged for more before the sound dispersed and the troglodyte retiral to the canvas cave beckoned.  It did for me.  Arlene, Louie and I headed to the tent.  My first festival day over, and another two to go.  It was going to be a long and wonderful weekend!


Saturday

As I said before, Peter joined me on Saturday.  Highlights of Saturday for me were Panda Su and John Knox Sex Club.  I was gutted to have missed Beerjacket, Washington Irving, and Shambles Miller.  Some due to conflicting time slots, some due to a simple inability due to indulgence.

Taking the stage on the Fruitstand tent early on Saturday, Hailey Beavis played a lovely set with an intriguing mix of melodies juxtaposed by lyrics which have a weighty harder edge.  An artist who has evolved into a talented singer songwriter, Norwich born but Edinburgh based, Hailey is going into the studio to record her first full length album which she hopes to have out around Christmas, one to look forward to and definitely an artist for the future.

What can be said about Colonel Mustard and the Dijon Five?  They just might be the perfect small festival Saturday night band!  This lot would not have been out of place on the main stage but only once all of the kids are safely tucked up in bed.  Their blend of crowd pleasing comedy lyrics with music played with genuine talent had the Baino tent audience bouncing and crowd surfing.  Songs like Ginger Girl and How Many Manys Are Too Many Manys, were belted out by their uber confident front man who, whilst wearing half a disco ball as a hat, had the revellers clasped firmly in his grip as he worked them up into a frenzy.  Ok they are never going to win the Mercury music prize but would I book them for a festival?  Absolutely!

One of the highlights of the weekend as already mentioned, were John Knox Sex Club who played a storming set in the Baino tent.  Their songs have beautiful folk music structures twisted to give them a contemporary edge that layers complex melodies driven hard by angst ridden lyrics.  This was the first time I had seen them and I was blown away!  Their singer is the perfect front man who fires out his lyrics with feeling and paints pictures of anger and bitterness whilst engaging the crowd and giving out hugs. I urge to check out their album Raise Ravens and lose yourself in folky perfection.


Sunday

Given a mid afternoon main stage slot on Sunday, Jo Mango played a beautifully compelling set which highlighted her wonderful voice and perfectly crafted songs. The Doune The Rabbit Hole setting was perfect for Jo who treated an adoring crowd to tracks from her recent Murmarations album with The Black Sun, a personal highlight.  If anything her set could only be improved by moving it into the more serene and atmospheric marquee of the Baino tent where her voice would have carried wonderfully!

Up and coming songbird Soibhan Wilson was showcased in the Fruitstand and Takeover tent on early Sunday evening.  Although perhaps not yet a house hold name it is surely only a matter of time before more punters are flocking to watch her shows.  Cutting a diminutive figure alone on stage with her electric guitar Siobhan‘s breathy voice complemented her songs which have undertones of jazz and country and western with All Dressed Up highlighting this perfectly.  Unperturbed by a short power cut Siobhan picked up her acoustic guitar and walked amongst an attentive audience treating them to a fantastic rendition of Bet Orton’s If I’d Never Seen The Sunshine.  A lovely moment from a lovely singer.

There is not a lot that can be said about Rachel Sermanni that hasn’t been said already.  This folk stalwart from Carrbridge in the Highlands is flying high at the moment on the back of her debut album Under Mountains, and her non-stop touring schedule.  Her strangely situated set in the Fruitstand and Takeover tent (surely a main stage act!) was the highlight of my festival and well worth waiting until Sunday night for.  A hugely engaging talent she conversed with the audience and was happy to play tracks requested of her (she played Eggshells for me!)  Lyrically her songs are a joy and her voice is beautiful.

And with that my weekend was done.  Doune The Rabbit Hole was my first weekend festival, needless to say, it has been my best.  And I will go back! 

Gig Review - West End Festival Closing Party

Despite being held a week before the West End Festival actually finished, this end of festivities event at the stunning Oran Mor took place Sunday 23rd June with a truly stellar line up in place.  It was also buzzing with a veritable 'who's who' of Glasgow music type people.  Which is no bad thing.  I'll make a point now of saying due to the quality of the line up in the Auditorium, I didn't venture down to the Venue at all.  By all accounts the line up there, including Pronto Mama, Fatherson and Washington Irving amongst others, was mighty fine too.

Busting on stage with a rousing opening number of 'Twelve Thousand Drops', Campfires In Winter drew a very sizeable crowd, for a band with only one (or two?) official releases to their name.  That one member of the crowd came all the way from Germany, makes it even more impressive!  And it certainly wouldn't have been a wasted trip either, as the foursome trade on anthemic post-rock knitted with three part vocal melodies illustrated by mid-set track 'See Us There, Both'.  Recent single 'White Lights' pulses through with an intro worthy of any We Were Promised Jetpacks song, and new track, taken from a forthcoming September EP, is all about Boab's gruff vocals and a epic crescendo laden outro.  Closing track 'Morgi Tempo' explains why CiW were such a perfect choice for opening the stage.  With a slight twist on the lyrics, take three parts Twilight Sad, two parts Neutral Milk Hotel, and you're not far off starting point.  And then with a, "fuck me, that's loud" they depart.

"Satan.  Satan" moans Adam Stafford.  The crowd gathered are clearly bewitched, which can only lead me to believe that that many loop pedals hold hypnotic powers.  Despite the high ceilings in the Auditorium leading to some sound leakage, it's a pretty swell performance from Stafford and his 21st century one man band.  'Vanishing Tanks', 'Please' and 'Carshulton Girls' all come from his forthcoming album, 'Titwanks I've Known And Loved' 'Imaginary Walls Collapse', illustrating that there really isn't anyone out there who is quite like this.  There's a severe amount of audible skull fuckery going on, with madness ensuing as Stafford bounces about on, and off, stage.  'Please' in particular is a truly stunning performance, fusing parts of soul, funk and indie together.  Job done.

Next up it's time for some electro wizardry in the form of Chemikal Underground alumni Conquering Animal Sound.  Having missed the first fifteen minutes or so (a man's gotta eat crepes sometimes), I returned into the Auditorium to otherworldly mystical sounds.  CAS sound sparse and chilled, but with the pulsing heart of a computer.  Watching James Scott tweak and tune, as Anneke Kampman prowls the stage, delivering vocals with an almost hip-hop style, it's hard not to be impressed.  Again, there's the slight issue of sound being lost to the vast ceilings, but with the dreamy loops of tracks such as 'The Future Does Not Require' and 'Ultimate Heat Death Of The Universe' nobody really seems to care too much.

By the time SAY Award short listed Meursault take the stage, the venue is packed out, the fading evening light, let's the stage lights illuminate the band, creating an altogether wonderful atmosphere ripe with anticipation.  Opener 'Thumb' ambles in, warmly hugging those gathered for the occasion as Neil Pennycock croons repeatedly "we will not be weakened any more."  'Flittin' closely follows, as the band get into full swing, dripping with raw passion and earning each and every plaudit that comes their way.  'Dull Spark' is anything but dull, tearing into every nook of this beautiful building, and filling it with Pennycock's extraordinary voice.  The energy doesn't let up through the set, and as Pennycock spits "ha, fucking, ha" during 'Settling', hairs on necks everywhere stand to attention.  There's no finer way to throw down the gauntlet to The Twilight Sad, than storming off stage, amidst a buzz of Neil Young-esque feedback.

I'm sure I wasn't alone in being slightly disappointed that the evenings head-liners were playing a stripped back set, rather than the full on audacious wall of sound set.  And I'm equally sure that I wasn't the only one wallowing in a slight sense of guilt once I realised what a fucking stupid worry that had been.  Opening with 'That Summer At Home I Had Become The Invisible Boy' and blistering through hits both old, such as 'I Became A Prostitute' and new from their SAY short listed album, the Sad have this Glasgow crowd singing from their song sheet.  There's a tender moment as James Graham, recalls the bands progress over the ten years they've been about, and plays a very special acoustic rendition of 'Cold Days From The Birdhouse'.  In this setting, on this night, and with this set, The Sad's songs breathe, inspire and delight.

Is the Scottish Album of the Year Award in tune with popular taste?

On last night's STV Scotland Tonight, a panel including Ministry of Sound DJ Rebecca Vasmant; a member of the awards judging panel; the musician Aidan Moffat who, along with Bill Wells, won last year's Scottish Album of the Year award for Everything's Getting Older; and the Daily Record showbiz journalist Bev Lyons, discussed the announcement of The SAY Award shortlist.

The override theme of the 8 minute slot was the exclusion of two artists, Calvin Harris and Emeli Sande, and the idea the The SAY Award is out of tune with popular taste, a theme it must be said was mainly pushed by panelist Bev Lyons and to some extent directed in that way by the production team and host Rona Dougall.

I question why the faux uproar has arising now and who it is actually coming from?  It seems like an excuse for the media to focus on two acts they know rather than turn the spotlight onto ten lesser know acts.  The judges were in a difficult place regarding these two albums.  Inclusion leads to calls of selling out and pandering to commercial sales, exclusion leads to calls of musical snobbery and elitism, as so elegantly put by Bev Lyons. 
Rebecca Vasmant gave a very good explanation of what the judges were looking for to include an album in the shortlist, namely a record which acts as an album as a whole, for the tracks to work together as one score, and not a collection of singles.  It is then on that basis, not sales, hit records, weeks in the top 10, fans, global success or any other criteria, which undoubtedly Harris and Sande have excelled in, that the awards shortlist must be based.

What I would say is that other than the judges it's unlikely that anyone has actually sat down and listened to all twenty long listed albums, therefore their judgement is at least in context of all the competition on a musical basis and in the scope of an 'album' rather than collection of hits, which both Sande and Harris' albums undoubtedly are.

Answering the question is The SAY Awards in tune with popular taste is such a complex beast it is almost impossible to answer.  The easiest way to tackle it though is to point out that The SAY Awards recognises and rewards artists irrespective of popular taste and has never pretended to be a Scottish version of the Brits. 

What I noticed from the STV programme is that Bev Lyons never once gave a credible reason as to why Calvin Harris or Emeli Sande should be on the list.  She mentions their worldwide success, yet doesn't actually argue why the music is worthy or frame their albums in the context which Rebecca Vasmant had stated the judges were working.  There's one point where she states, "it's a given" that one of the two albums would be included.  Why?  Justify yourself please?  The fact you and millions others like it, doesn't automatically make it a better album that the ten that have been picked.  To her credit Vasmant does state why the judges didn't include either album, namely they were a collection of hit singles rather than a fully produced well flowing body of work.

Aidan Moffat makes the exact same point I made on the blog last week, regarding the fact that Harris and Sande, and by extension their labels, didn't show any interest whatsoever in the award, and that given their large fanbase, they could have easily walked off with the public vote.  You could argue in a way that The SAY Award organisers gave the public a vote to avoid accusations of industry snobbery, and that the two acts who would have undoubtedly scored best chose to snub that completely. 

Lyons, tries to argue that smaller bands rally together to get votes, as to why Harris and Sande's albums didn't win the public vote, although she does later concede that they didn't garner the support they should have without admitting that was generally because they didn't appear to care.  Let's put this into perspective here.  The Twilight Sad have just under 13,500 followers on Twitter.  Emeli Sande has approximately 900,000 and Calvin Harris has over 2.1 million.  You do the math.  The simple reason that Emeli Sande and Calvin Harris didn't win the public vote was because neither cared a jot to publicise their involvement.

Then comes the accusation of "elitism and inverse snobbery", which Lyons tried to assure us she doesn't want to accuse of happening, despite doing exactly that.  Have a look at the judges.  Tell me that there's not a diverse spectrum of tastes, experience, and culture in there.

"Should it not be changed to the Indie Music Album Of The Year?" quips Lyon.  No it shouldn't.  As Vasmant goes on to stress, again, it was based purely on the music.  Within the shortlist there is folk, electronica, pop, dance, hip-hop, traditional, indie, and rock influences.  The longlist again expands on that further.  By making this comment, Lyons herself, is exposed as possessing the kind of 'inverse snobbery' she accuses the judges of holding, by classing anything not 'mainstream' as indie or 'weird'. 

What annoyed me about this short programme, other than Lyon's air of entitlement and interruption of the other guests, was the fact that despite this being a celebration of 10 albums nominated for the title of Scottish Album of the Year for 2012, the focus rested on the people who needed it least.  So let's put a full stop at the end of this topic, and finish this post with a track from each of the shortlisted album.  A huge congratulations to each artist, and also to the ten artists who didn't make the shortlist, and I hope that the coming weeks brings increased attention, and sales, to their music.

Scottish Fiction Podcast - 15th May 2013

Kicking off another packed show this week was the charming Charlie and Charlotte of King Post Kitsch, who very kindly joined me in the studio.  And with the three tracks they chose to play during the session, they are welcome back any time!  There's nothing quite like an intimate acousitc session, and the three tracks the pair performed live in the studio were simply magnificent.  In between discovering them during the show, there's chat about an upcoming new album too.

I also continued down The SAY Award rabbit hole, with another five tracks taken from long listed albums.  The Aye Tune Friday Freebie track this week comes from Cuddly Shark, while it's a Fence Records extravaganza with the Re-Mixing It Up track.  All that and plenty of chat and tunes about this Saturday's Stag & Dagger festival in Glasgow.  Ta-ra.


David Bowie - Always Crashing In The Same Car - As chosen by King Post Kitsch

King Post Kitsch - Fante's Last Stand - Live in Pulse 98.4 FM Studio

Can - Vitamin C - As chosen by King Post Kitsch

King Post Kitsch - Blood And Glitter - Live in Pulse 98.4 FM Studio

King Post Kitsch - Walking On Eggshells - Live in Pulse 98.4 FM Studio

John Cale - Fear Is A Man's Best Friend - As chosen by King Post Kitsch

Rachel Sermanni - The Fog

Re-Mixing It Up - The Pictish Trail - Wait Until (Kate Canaveral Remix)

Duncan Chisholm - Big Archie
RM Hubbert feat. Aidan Moffat & Alex Kapranos - Car Song
Meursault - Flittin'
The Unwinding Hours - Wayward
Dam Mantle - Canterbury Pt. 1
Prides - Out Of The Blue

Aye Tunes Friday Freebie - Cuddly Shark - Out Of Sight, Out Of Mind

United Fruit - Taste I Can't Give Up
We Were Promised Jetpacks - It's Thunder And It's Lightning


Subscribe/listen to the podcast via iTunes.

Scottish Fiction - 15th May 2013 by Scottish Fiction on Mixcloud

Scottish BAMS Winner 2012

So a slightly belated BAMS 2012 announcement from ourselves, and I'm sure the majority of you who care will have seen the results on one of the other 41 blogs and music sites taking part.  However we always like to show our support and for those who've maybe missed it, here is the Scottish BAMS 2012.

If you are unfamiliar with the BAMS, then let me elucidate the possibilities. The BAMS stands for Bloggers And Music Sites, and each representative submits their favourite five albums of the year.  These results are then tallied, checked and collaborated in an intricate scoring system by head BAM Mr. Peenko to produce a final top 10 list.  In total there were had 41 different sites take part, which I guess just goes to demonstrate just healthy the Scottish music scene is at the moment.

As I am sure you will want to know who took part, here's a list of the sites/persons who voted in this years BAMS :

Scots Whay Hae!,  Jim Gellatly, Detour, Jock N Roll, Houdidontblog, Rave Child, Fusion New Music, Fish In A Sub, Manic Pop Thrills, Kowalskiy, 17 Seconds, Net Sounds, The Steinberg Principle, Songs Heard On Fast Trains, Peenko, Hercules Moments, Dauphin Mag, JockRock, Play That Song For Me, The Spill, The Tidal Wave of Indifference, HP, Inverness Gigs, Elba Sessions, Fresh Air, Scottish Fiction, Tenement TV, Marion Scott MFR, Last Years Girl, Dear Scotland, Blues Bunny, The Pop Cop, Vic Galloway, Ally McCrae, Glasgow PodcART, I Hate Fun, Avalanche, Edinburgh Man, Everything Flows, Nicola Meighan, Aye Tunes and Song, by Toad.


Here's the top ten BAMS albums of 2012

Joint 12-9th -
Chris Devotion & The Expectations - Amalgamation & Capital /
Paul Buchanan - Mid Air /
The Twilight Sad - No One Can Ever Know /
We Are The Physics - Your Friend, The Atom

8th - Admiral Fallow - Tree Bursts In Snow

7th - Sharon Van Etten – Tramp

6th - Miaoux Miaoux - Light Of The North

5th - Errors - Have Some Faith In Magic

4th - RM Hubbert - Thirteen Lost & Found

3rd - PAWS - Cokefloat!

2nd - Django Django - Django Django

1st - Meursault - Something for the Weakened

 (courtesy of Mike from Manic Pop Thrills)

Head BAM Lloyd caught up with Meursault frontman Neil Pennycook.  Here's what he had to say:

"Congratulations Neil, you are this years' winners of the Scottish BAMS award, how do you feel?        

I feel like the chubby lad at school after being picked first for the football team. I fear that any minute now I'm going to be told it's all a joke and you're going to burn my shoes and flush my head down the toilet.       

It seems to have been a pretty exciting year for the band, what with European tours supporting Clap Your Hands Say Yeah to headlining the Queen's Hall back in July, aside from winning this years BAMS, what's been your personal highlight of 2012?   

My highlight is probably the QH gig. I've wanted to play that venue since I was 18. Feels nice to have ticked that one off.             

Last years the BAMS was won by Aidan Moffat and Bill Wells, who later went on to win the SAY Awards. Have you allowed yourself the thought that you might potentially be in with a shout at next years SAY Awards?   

What? I thought this was the SAY awards? You ARE still giving me £10000 though right?  (whip round anyone? - Peenko)

I noted that once again you've decided not to head over to Austin for next years SXSW, is not something that interests you or are you just keeping our friends on the other side of the pond waiting?   

It's not something that appeals to me to be honest. I get really tired of the competitive aspect of playing music and do my best to avoid it. I've no interest in travelling halfway round the world (at great expense) to pedal my music to pissed up strangers in laminates  . Playing in the states is something that I'm keen to pursue but not that way.      

       

How important do you feel that the support of music blogs has been to the band?   

It's been hugely important for us. After all it was a blogger (song, by toad) who put out our first 3 records.              

Seeing as we are on the subject of albums of the year, what have been your personal favourites of the last 12 months?        

I've not sure if all of these came out this year but I'm going with them anyway...  

Chad Vangaalen- Diaper Island 

Youth Lagoon- The Year of Hibernation 

Charles Latham- Fast Loans 

Grouper- alien observer 

Paws- Cokefloat   

Cheers!"

Best Albums Of 2012 - 20 - 11

On the day of the impending Mayan apocalypse, let's all take a few moments to celebrate and reflect on just how bloody good a year it has been for Scottish music.  Last year when compiling this same 'Best Of...' list there was always a clear winner in my mind, Bill Wells & Aidan Moffat's 'Everything's Getting Older'.  That was vindicated by the same album taking the BAMS 2011 title, and more importantly the inagural SAY Award back in June.

This year however, I've chewed this list over and over.  I've mulled on my favourite, re-jigged the order, and cried at the albums I had to leave out.  It was a difficult list, but I've finally settled on this, the Scottish Fiction Best Of 2012.  So enjoy, listen, disagree, engage however you please.

Presented in this post is numbers 20 to 11 in our countdown.

20. French Wives - Dream Of The Inbetween

The Glasgow quintet released their much anticipated début album back on 7th May via Stow College label Electric Honey.  It's a romp of an indie-pop effort, which holds real emotion beneath the catchy melodies, and features a number of their singles released already such as 'Younger' and 'Numbers'.  The band were also rather kind to come and play the first Scottish Fiction Presents: Aye Tunes vs. Peenko gig back in October, which was lovely! 

(Buy the album here) 


19. Cancel The Astronauts - Animal Love Match

The first of four, yes count them four, albums released on 17th September to feature in our top 20.  The Edinburgh band put out this very accomplished album which is full of well written love songs that actually convey real emotions, landscape sounds at times rivalling those of more establish indie acts, and full of awkward dance moves as those oh-so-cool indie kids try not to dance.  Another charming band who came and playing for us in October.  Cheers!

(Buy the album here)


18. Lightships - Electric Cables

Teenage Fanclub are an institution that can do no wrong.  Luckily that also extents to their constituent parts, including bassist Gerard Love who, with the help of some other Glasgow musicians, released his début solo album under the guise of Lightships.  The influence of the Fannies is clear, as is another Glasgow institution The Pastels, under whose label the album was released, yet there's plenty of originality and a breezy summer day feel throughout.

(Buy the album here)

17. Olympic Swimmers - No Flags Will Fly

Back in 2011 I had the pleasure of seeing Olympic Swimmers support Admiral Fallow at The Arches, and shortly after 'Apples And Pears' became one of my favourite tracks.  I'd kind off forgotten about the band until... BAM 'No Flags Will Fly' dropped on 4th June and propelled the band to greater things.   The first four tracks contribute one of the strongest starts to an album all year, especially my favourite 'Knots'. 

(Buy the album here)


16. Gav Prentice - The Invisible Hand

Over The Wall frontman Gav Prentice chose this year to 'go solo', something which he'd been toying with for a while and was encouraged to go for during a lull in OTW activities.  And just as bloody well, because début 'The Invisible Hand' genuinely does stand alone from Prentice's previous band and serves as a vehicle for the him musician to say something he couldn't have got across as a collective.  Full of small town angst, frustration and threats of violence, it's a stonker of an album well worth checking out.  Peenko, Aye Tunes and I had the pleasure of 'launching' the album at our gig in November.  Jolly good so it was.

(Buy the album here)



15. The Unwinding Hours - Afterlives

After 2010's self titled album from former Aerogramme lad's Craig B and Ian Cooke, a follow up was always expected.  Thankfully it was delivered via Chemikal Underground in August, and it firmly delivered surpassing the standards the duo had set with their début.  Ian Cooke has been a busy bee this year as well, popping up as part of CHVRCHES, who may, arguably, surpass TUH popularity.  Time will tell.  In the meantime enjoy 'Afterlives'.

(Buy the album here)



14. Meursault - Something For The Weakened

Time for my favourite named album of the year, the wonderfully titled 'Something For The Weakened' from Meursault.  Led by Neil Pennycook, Meursault returned with their third offer, displaying progression in their songwriting and a more 'human' and acoustic sound.  Featuring tracks such as 'Flittin', 'Dull Spark' and personal favourite 'Lament For A Teenage Millionaire', this is a fine fine album worthy of your time.

(Buy the album here)



13. Jo Mango - Murmuration

The first of two appearances for DIY Glasgow label Olive Grove Records.  Jo Mango's second album 'Murmuration' was a labour of love, taking six years to write and record.  It's certainly worth the wait though as there's such beauty, craft, intricacy and emotion weaved throughout.  Each track is a real labour of love, and for true, original songwriting you can't look further than 'Murmuration'. 

(Buy the album here)


12. The State Broadcasters - Ghosts We Must Carry

And here's numero two for Olive Grove, which has nothing to do with our recent gig foray with Lloyd, and everything to do with the extraordinary collective feeling they have developed and used to entice The State Broadcasters to release their second album 'Ghosts We Must Carry' with them.  The second album on the list to have been released on the magical date, 17th September, The State Broadcasters have crafted an album full of folk/American/traditional musical influences which broads with real human emotion.

(Buy the album here)


11. Human Don't Be Angry - Human Don't Be Angry

Human Don't Be Angry, named after the literal translation of the German name for the board game Frustration, is of course Malcolm Middleton, who turns his hand to electronica and '80's influenced music on this album.  Released via Chemikal Underground on 23rd April, it's an album that has intriuged me and stuck with me all year round.  Sound truly landscaped sounds, tapping into the electro sound which is prevalent at the moment.  Wonderful live as well.  Chill out and have a listen.

(Buy the album here)

Happy St. Andrew's Day

What better day to celebrate all that is good about Scottish music. Here's some stuff for your listening pleasure. Enjoy!

Scottish Fiction Podcast - 14th November 2012

The latest Scottish Fiction podcast was NOT a live radio show, instead was a pre-recorded show which aired on 14th November 2012.  Does that mean there's no mistakes?  Well you'll have to listen to find out!

On the show is music from The Yawns, Meursault, Birdhead, Trapped Mice and plenty more.  Our Aye Tunes Friday Freebie comes from KiDD, whilst our Re-Mixing It Up track is a Midnight Lion remix of The Mouse That Ate The Cat track '40 Years From Now'.  Our Classic Scottish Album is Aereogramme's 'My Heart Has A Wish That You Would Not Go' and we play a track taken from that and our Featured Artist is The Pastels meaning there is three tracks from them.  Get stuck in!


The Recovery! - Vulture Club
Blindfolds - Black Magic
Miniature Dinosaurs - Next Of Kin

KiDD - So... Are You Aiming To Be Out? - Aye Tunes Friday Freebie

The Yawns - Butterfleyes
Hunt / Gather - Phoenix Maker
Static Future - LaBeija
Trapped Mice - Night Of Broken Glass
The Birthday Suit - Uh-huh Uh-huh

The Mouse That Ate The Cat - 40 Years From Now (Midnight Lion Mix) - Re-Mixing It Up

Run/Lucky/Free - Denim Skyes (Live Acoustic)

Aereogramme - Barriers - My Heart Has A Wish That You Would Not Go - Classic Scottish Album

digital bear - Live In A Suitcase
Campfires In Winter - Outside
Gav Prentice - Burning Down
Meursault - Dull Spark
Fiona Soe Paing - Tower Of Babel
Snide Rhythms - Distractions
Vasa - Cynthia

Featured Artist
The Pastels - Crawl Babies
The Pastels - Thank You For Being You
The Pastels - I'm Alright With You

Birdhead - Tourist

Scottish Fiction - 14th November 2012 by Scottish Fiction on Mixcloud

Scottish Fiction Podcast - 15th August 2012

Last Wednesday's show was a good 'un, filled to the brim with new tracks from the likes of The Unwinding Hours, Crusades, Meursault, Cancel The Astronauts and more!  Our featured artist this week was Isobel Campbell and we had three tracks from her in her various musical guises.  And our Classic Scottish Album was KLF's 1991 album 'White Room'.  Listen back for all this, some Twitter banter, and more!

Crusades - Harelquin
The Unwinding Hours - I've Loved You For So Long
headachehat - Grino
Kill The Waves - Shadow
People, Places, Maps - 3

Classic Scottish Album - KLF - 3AM Eternal - White Room

Meursault - Lament For A Teenage Millionaire
The Second Hand Marching Band - A Dance To Half Death
PAWS - Miss American Bookworm
We Are The Physics - Goran Ivanisevic
Michael Cassidy - 15 Years
James Yorkston - Border Song
Quickbeam - Seven Hundred Birds
Rollor - Island / Jekyll
Cancel The Astronauts - Making Dynamite
Dave Hughes And The Renegade Folk Punk Band - As You Are
7of7 - These Days Are Our Last
Middleton Hall - First Bus Out Of Town
The Tide Inside - On My Way Back Down From The Edge

Featured Artist - Isobel Campbell
Belle & Sebastian - Is It Wicked Not To Care?
Isobel Campbell - The Breeze Whispered Your Name
Isobel Campbell & Mark Lanegan - Honey Child What Can I Do?

The State Broadcasters - Where I Belong
The Spook School - Here We Go

Scottish Fiction - 15th August 2012 by Scottish Fiction on Mixcloud

King Tuts Summer Nights 2011 Album

Fancy some free music? Of course you do you racy devils!

To celebrate the forthcoming Summer Nights which runs from 14th July to 28th July, King Tut's are offering a free download of an album featuring tracks from artists performing during Summer Nights.

Here's how the tracklisting looks:

1. Sonny Marvello - Pull Me Up
2. JumpersKnee - Letter To The Sun
3. Bwani Junction - Middle Meadow
4. Aerials Up - All Your Mothers Daughters
5. Fatherson - Gone Fission 
6. Bronto Skylift - Wolf
7. Song Of Return - Trajectory
8. Dead Sea Souls - My Problem
9. Davey Horne - Last Train Home
10. Meursault - Crank Resolutions
11. The Seventeenth Century - Banks Of Home

You can download this lovely little collection of songs and also see who is playing Summer Nights here.