This is just a brief list of some stuff I’m looking forward to in the Edinburgh music scene over the coming year.  I don’t intend to be parochial about this, or too narrow, but I am not as close to the precise ins and outs of what’s happening in the rest of the country so there’s a limit to what I can meaningfully say about what’s going on there.  It’s not meant to be exhaustive either, just some thoughts pottering about at the front of my mind.

New Labels

Last year saw the first steps made by a couple of new labels in Edinburgh, Kilter and Mini50.  With Song, by Toad Records virtually at capacity in terms of labour and money, and 17 Seconds and SL Records also really busy, these two new labels should have a pretty free hand in terms of first dibs on emerging bands this year.

Kilter have already showed the quality of their work with the beatiful eagleowl single in December, so in that sense they’re a slight step ahead.  Mini50 have been negotiating with some of the newer bands to emerge in the last year or so though, and album releases by the likes of Mammoeth should give a really solid foundation to their launch.  Basically, this is great news for the city’s young bands.

Jeffrey Lewis – Don’t Let the Record Label Take you out to Lunch

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The New Generation of Bands

Whilst I’m talking about the newer bands to emerge last year, there is a definite gap forming in the local musical ecosystem.  The fact that Broken Records and now Meursault and Withered Hand have graduated to an audience both nationwide and beyond leaves an opportunity for one of the new generation to make a mark locally.

With a single and an EP already to their name, Jesus H. Foxx are slightly further ahead in their development, but with the very promising emergence of bands like the Pineapple Chunks, Conquering Animal Sound and the Last Battle there is the opportunity for a band from the new generation to progress to the stage where they will obviously and easily be able to fill small venues like Sneaky Pete’s and whatever the Roxy management turn the old Bowery space into.

David Bowie – All the Young Dudes

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The New Roxy

And while we’re on the subject of the Roxy, Rupert Thomson, former Skinny editor, has been appointed to run the entire building in the new year.  I have a lot of time for Rupert, so I am really hopeful that he can carry on the development of what is pretty clearly the best gig space for small bands and promoters in the city.  In the absence of Ruth and Jane the place will inevitably have a very different atmosphere, but it is still easily the best space of its type around, so I really hope the new team can continue to foster the underground scene in the capital with the same kind of devotion and sympathy which Ruth brought to the place.  And very nice that they now have a one o’clock license, which is very fortuitous timing indeed for the new venture.

Tom Waits – New Coat of Paint (Live)

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Descent of the Digital Press Locusts

Last year saw the formation of so many new blogs in Scotland it made my head spin.  In fact it actually made me feel like an established veteran.  With respected indie publications like Bearded and Plan B swinging the axe on their print editions and also retreating to the web, we are getting closer to the American press model every day.

In the States there are basically no music magazines left, so labels and bands take blogs way, way more seriously, because we are pretty much the only people left who are addressing their audience.  In the UK there are still some excellent music magazines – Clash, Word, The Stool Pigeon and so on – but glossies like the NME, Q and Uncut are really becoming embarrassingly bad.  Personally I would be surprised if the year passed without a high profile music press casualty, which means that the playing field is unusually open for blogs and other digital publications.  And with the death of music television beyond the insultingly stupid X-Factor and its diseased ilk, pretty much the only music television which exists in the UK is now online.

This general trend could lead to a fairly considerable shift in how online publications are treated over the next year or so and, instead of being considered amateur or grassroots or DIY, we could end up being as close to mainstream as it actually gets in the indie world.

The Clash – Career Opportunities

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That Extra Step

Glasvegas were probably the last really big band to come out of Scotland, in terms of sheer audience size.  Frightened Rabbit, depending on their next album, could follow in their footsteps over the next twelve months.  Do any of the Edinburgh bands, I find myself wondering, have it in them to follow in their footsteps?  Are we likely to ever see the likes of Withered Hand, Meursault or Broken Records get anywhere near a late evening slot on the main stage at a major festival anytime soon?  It would be nice to think so, wouldn’t it.

Aileen Loy & Blue Valentines – Big in Japan

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It’s hard to review this single, not because the basics aren’t pretty clear (it’s lovely, I like it a lot, go and buy it please) but because I am finding it very hard to figure out how to express exactly what I feel about this record.  Actually, scratch that, I am finding it very hard to express exactly what I feel about eagleowl as a band, truth be told.

When I played Laughter, the b-side to this single, on the podcast a couple of weeks ago I remember describing eagleowl as having a very similar quality to Withered Hand, in that they just seem to have total integrity – they come across as being the only band they could actually be;  as if they would actually be incapable of sitting down and styling themselves after a certain fashion.

It’s very much as if there is precisely no layer of artifice between them and their audience at all – no fourth wall, as the theatre community might put it.  What that does, of course, is demand that you return the favour.  The emotions are so naked that to engage with the music you tend to have to drop your own guard as well, which makes music like theirs hit home so very much harder than almost any other band I could mention.

The other thing about eagleowl which I love is that to a degree they force you to accept them on their terms, not your own.  It reminds me of reading a book in that sense – you actually have to sit down and clear your mind or you are unlikely to take anything much from the experience.  As such, I find that listening to eagleowl always puts me in the right frame of mind to listen to eagleowl, and so I have never listened to anything they’ve done with less than complete attention.  This gives the carefully assembled details of their work the chance to reveal themselves one at a time in the unhurried way in which this band operate.

Which brings me onto this particular release.  This may not really be a Christmas song per se, but it does embody that envelopment and sanctuary which your own home takes on as the conditions outside become more and more unpleasant.  Even the cover image of the candle in the dark reinforces this feeling.  This song basically expresses everything I love about Winter and Christmas in general: the restlfulness of being home (be it chez Toad, or visiting the folks or in Manchester with my Granddad – they all have their different but equally comforting homely qualities), the deep satisfaction of being curled up on a couch in a warm living room when it’s freezing cold and blustery outside, and that indescribable, incomparable feeling of rightness you get when snuggling up to a loved one late in the evening after a good meal and enjoying the fact that you really have nothing at all to do in the hours between now and bedtime.

I don’t really know how more meaningfully I can evaluate this music.  I could describe the change in how Malcolm is using his violin these days, or the interplay between male and female vocals or any of that stuff, but it’s never what I end up caring about when I listen to eagleowl.   They just sound right; this just sounds right.  And that’s all that really needs saying about any of it.

eagleowl – Laughter

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