I remember when I first started this blog… actually, hang on, when I first started this blog I lived down South and was just writing about bands I read about in Uncut and bought in HMV, so let’s quietly pretend that era never existed and that I was always an aspiring super-obscure music hipster.
Even when I first turned the site into an actual blog a couple of years later, in Edinburgh by this point, I still had little idea that there was quite so much music being made all around me in this city. Nor that so much of it was worth paying attention to. I suppose I just never realised that much like football or acting, the professional music world we see before us is just the tiny tip of a massive, massive iceberg, and that supporting and feeding that tiny visible chunk bobbing about above the waterline, is a vast mass of people working away, from those with aspirations to the top to those who just dabble because they love it and everything in between.
As it slowly began to dawn on me that music I love was actually being made all around me, and that I didn’t really need to look to the glossies or the megastores to find it, possibly the first local enterprise I came across was Steve Adey and his label, Grand Harmonium Records.
His music is slow and downbeat, probably fitting into that ‘gloriously morose’ category you know I have such a soft spot for. However, having first written about him so long ago that the post only just missed being lost in my Great Database Debacle of 2007, my attention subsequently veered into much louder territory, and I have to confess I’ve inadvertently taken my eye off his stuff for a while now.
These new recordings have sorted that out though – they’re gorgeous. They remind me an awful lot of the latest Ed Harcourt album actually – another gloriously morose piano playing singer-songwriter. Filmed in Buccleuch Church in the Southside of Edinburgh, the setup is completely minimal: Steve and a piano, and Helena MacGilp on drums and backing vocals. It’s gorgeous. It’s easy to imagine all sorts of things being added to these songs, but they just don’t need it. The minimalism allows you to concentrate on every drum, every piano note and every rise and fall of the vocals.
Five of what will apparently be ten songs have been published on his YouTube channel already, and I am very much looking forward to the rest appearing. And honestly, I think this collection of recordings really does deserve its own release despite the fact that the songs themselves are all from his last album.