Song, by Toad

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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[Dan from the Edinburgh University Settlement, who are currently administering the Roxy Art House and therefore the Bowery recently left a comment on Monday's thread, where we were discussing the fate of the Bowery.  Because this is something we're all rather passionate about I thought I would elevate his comment to a new post, so we can all read it and hopefully ask some questions.

I'd also like to say that I really appreciate his coming on the site to tell us what's going on, because it would have been easy enough to dismiss it all and just carry on with what they are up to, safe in the knowledge that people don't tend to hold grudges for long and that it would all be forgotten by 99%  of people within a few months.  So, in other words, please respect his willingness to chip in and if you ask questions keep them on topic and civillised.  Anything I consider out of order will be deleted.]

Just found all this, wow it’s great you all are so passionate about the Bowery, this is something I can totally respect and agree with. However there’s loads of conjecture going on here and I don’t think it’s helpful. I’m currently helping manage the Roxy and am employed by EUS. Some of you will probably know me from the place.

EUS completely support and respect the Bowery and what’s it has done and hopefully will continue to do. We’ve supported it so much we’ve essentially subsidised it’s existance over the past year as we also want to support this community and grassroots arts. The reason you didn’t get an answer out of the person you called is because you (both) spoke to the director of the EUS and believe it or not that was the first mention he’d heard of it, as EUS are not kicking the Bowery out of the building. He understood you were a journalist calling up about something he thought was incorrect. It was nothing to do with ‘the likes of you’ as the likes of you = the likes of us.

There are some changes going on (ie the general manager position) as for the building to continue to exist we have to increase revenue in order to pay the mortgage and upkeep etc so as not to lose it and get it turned into luxury flats (which is what we saved it from) however we aim to do this in the fairest, most open way possible and with the involvement and dialogue with the community using it.

I also manage other projects within the EUS and this place require someone to be focused just on it And yes there probably was some miscommunication with the Bowery about this and for this we are truly sorry, but we have really tried to be as open as possible.

As Jane says, the best way to support the place is to come down and drink there, go to gigs there, spread the word to other bands to play there, try and encourage touring bands and promoters to use the upstairs hall. It all goes to the same place – paying the mortgage and ideally helping more of us get work within the arts we love. Any other questions feel free to email me (my email address is the one on the Roxy website) or I’ll try and check back here.

Keep on keeping on, Dan