Posted in Bands We've Chatted With

Jackson Hall (Matthew Riley from Cancel the Astronauts)

rileynord

On to some new music. I’ve recently been sent a link to check out a solo project from Matthew Riley. Not being able to just buy it, I actually had to listen to it. Any one familiar with the blog can appreciate that we could have called it the ‘Cancel The Astronauts Fanpage’. In a bit of a minimalist twist, I had the time to fire off a single question and got back two answers.

What was the inspiration and motivation to release these solo songs?

“Very quickly: I had lots of piano songs that CTA refused to use and I thought they were too good to let disappear. Hence ‘lost’ love songs!”

“Longer: CTA didn’t want these songs so I thought I’d release them myself. I wanted to make them as un-CTA like as possible, hence the piano and strings. I wanted it to be clear, short, simple and natural. All the songs are really just the same song and all the albums will really just be the same album. I wanted to create a beautiful, elegant collection of songs with a flow and just one theme: love. Without trying to be witty, clever or funny. Just direct and honest. This was the most ‘not cancel the astronauts’ that I could think of making them, without resorting to space jazz. The plan is to release all three of them in 2013 in very low number (maybe 100?) and sell physical copies only through record shops, as I won’t be gigging them. Hope you like them!”

Awaiting my Seafieldroad order, I’ve recently become more open to piano and voice.

Well worth a listen: Jackson Hall

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Posted in Live Reviews

Django Django/Cancel The Astronauts

Django Django at the Independent September 25, 2012

An Irishman, an Englishman, and 2 Scots walk into a bar art school…

Fill in a punch line of your choosing as there would be many that would work after seeing the “Edinburgh” bands’ first SF stop on their first US Tour. In the grand tradition of UK art school misfits who followed music as their muse (Keith Richards, Joe Strummer, Malcolm Mclaren, MIA to name a few…) come these 4 creative quirks who fuse collagist aesthetics to their dance band antics.

And dance they did!- for and with the rapt San Francisco audience. Our city has a long history of transcending the live experience between performer and audience through dance. One could argue it was the hippies moving to the electric jugband blues at the Avalon Ballroom in the ‘60s that defined this, that it was the headbangers thrashing about at The Stone in the ‘80s, or perhaps it was the late-nite beboppers at Jimbo’s Waffle Shop in the ‘40s that epitomized music’s ability to set you free…whatever your take is, the San Francisco audience last night reciprocated the Djangos feel good bounce on stage with something they have always done for live music – dancing wholeheartedly.

Of the many sonic reference points Django Django re-interpreted on stage, from their west coast drenched harmonies (“Storm”), and spaghetti western noodling (“Wor”), to the eastern-influenced instrumentals (“Skies Over Cairo”) – all were brought down to earth with a whimsical take on autobahn electronics and 8-bit video game blippery (Mega Man soundtrack for Nintendo anyone?). Sadly, the visual reference points never surfaced at the non-existent merch table (who dropped the ball on that one, fellas!?) But the tasteful “stage outfits” of matching tie-dye t-shirts in subtle off-kilter patterns was a welcome sight to onstage showmanship. Props for tryin’ while not tryin’ too hard, and having fun while tryin’…

Pedro

I was going to write my impressions of the Django Django show but decided there wouldn’t be much point. At best it was a neutral experience – not as bad as it might have been and it didn’t work as well as it could have. We are going to a different format this year. Weekly posts that highlight our Scottish music experience; if something really big comes along we’ll just add another post in between.  My CTA preorder arrived today. It seems we are experiencing a one week delay. I was pleasantly surprised to see a top notch handmade comic with a 2 song pre-order download code. The two songs “Thumb Wars” and “My Father’s Bed” have been on repeated rotation all evening. I’ve a soft spot for the personal reflective CTA songs that seem to find their way to the B sides. Another song about lost love – “I’m going nowhere, I might just get there yet” …. “I’m going nowhere and I’ve traveled pretty far”. A beautiful simple confessional that tugs at anyone who has suffered from self inflicted loss. The second song is a moving and deeply personal reminiscence of illness and an expression of hope for what kind of father the son would want to be. I still need to get my hands on the early demos and my CTA collection will be complete as I caved and  found an ebay copy of the first EP which came today as well.  

Thor

Posted in Bands We've Chatted With

Cancel the Astronauts – Animal Love Match

I love the opening of Animal Love Match. It sounds like you are climbing a hill and then the uncharacteristically loud guitars signal that you’ve reached the summit. As the panorama unfolds the distinctive melodic CTA sound kicks in promising something even more than what has been offered before. Assuming much deliberation went into the opening track for the debut full length, what were your deliberations on executing a proper opening?

“We actually didn’t have to deliberate at all about this one. This was the album title so it made sense to put it first AND it has this nice buildy intro so it made sense to put it first AND it’s been the intro song of our live sets for about 18 months or something. Lyrically it sets out the themes and ideas of the album so it really was the perfect choice. There was some discussion about whether the intro was a tad too long, and we experimented with cutting it down, but nothing we did seemed quite right. We liked what we had already and I’m of the opinion that if people can’t concentrate on 2 minutes worth of buildyup noise then to bugger with them.”

I imagine it is a good idea to read the press release before submitting questions. 18 months. Would you have preferred to have recorded in a shorter time frame or did this drawn out period of time actually provide unexpected benefits?

“I would much rather it had been out 2 years ago, because it’s taken far too long to write and record. 1 album in 5 years probably isn’t a great model on which to build a successful band. I simply INSIST that the next one comes out sooner! Nevertheless, it wouldn’t have been as good if we hadn’t taken our time about it, and if this is the only one we ever make then I’m glad I can be proud of it. (Still should have had Echoes of Love on it mind). Since we had the luxury of recording it ourselves there was no deadline in place and we were able to add bits (and entire new songs) when we thought of them. We probably need a deadline next time and going in to a studio or hiring someone else outside the band as a producer/mixer/engineer is something we’re considering for the next one.”

I’m applying to be president of your American west coast fan club. As it turns out, it is the one physical EP I don’t have. Even worse, I just realized that I’ve never heard ‘Late in the City’ as my emusic download has duplicated ‘Country Song’ in the data file. You wouldn’t have any more hidden under a couch cover would you?

 “Sadly not, but as I understand it there’s quite a few of them on ebay; what’s more they’re cheap and they move pretty slowly! Shame about ‘Late in the City’. That’s a cracking song which we’re no longer allowed to play live, because Michael and Kieran think it’s “too long” and “boring”. Sadface. It’s one of my favourite CTA songs because it has a more laid back groove and we’re not all hitting everything very fast and very hard to a disco beat for a change.”

Some bands are content to recycle their material or, shudder, re-release an entire album. You’ve amassed an impressive back catalogue of songs and it would have been perfectly understandable to include a few more gems. Other than the two you decided to use, were there any that were under consideration?

“Fanclub, FFAG and She Said were all under serious consideration at various points over the last 18 months, but I’m glad we didn’t put any of them on. I really want to try and say goodbye to as many of those old songs as I possibly can. They’re good and I like them, and they’re fun to play from time to time, but we can do much better and we need to keep moving forward. So far people don’t seem too disappointed with the lack of old songs on the LP, which I think is proof enough that we’re improving as songwriters and that we made the choice. Besides, songs like Animal Love Match and Love Backwards are pretty old too by the standards of the really new stuff like Sold my Soul, so I think we’ve already got enough ‘old’ songs on there. I’m a devil for writing new songs and I get bored pretty quickly. Put me in a practice room to write a new song and I’m happy as Larry.”

A few years ago, I had to choose between seeing Teenage Fanclub or Bettie Serveert on the same night. What would you have done? How do I go about seeking absolution for going Dutch?

“I don’t really like Teenage Fanclub and I’ve never heard of Bettie Serveert so I’d have stayed in. And isn’t ‘Going Dutch’ a sexual euphemism?”

The thing I’m most astonished by after the first listening of the new record was how you’ve progressed. There has obviously been a good deal of maturation and development in the time since the first EP. What are you particularly most excited or happy about?

“Song wise I’m very pleased with Sold My Soul and Catch You. I think they prove to people that we’re capable of writing much more than just three minute pop tunes. I would agree that we’ve ‘matured’ and ‘progressed’. Some of this is natural because we’re older and because we want to try new things, but most of it I think is through deliberate choice. We decided when we first started to write upbeat pop, but we could equally have chosen to do sound more like Lekking or Catch You. I think the next album (and hopefully we make one) will sound less poppy still, and that’s what I’m most excited about- getting this one ‘in the can’ and starting the new one. I’ve got bugger loads of songs ready to be fleshed out; we just need to find the time to finish them. Unfortunately this takes a long time. There are very few songs that we write and record quickly- Sold My Soul being a delightful exception which we wrote and recorded in a month!”

Evol?

“It’s close to evil.”

Songs about love must be difficult to write without staying between the same worn lyrical goalposts. Do you maintain a lyric notebook? Are you inspired by things you hear?

“I have several lovely notebooks and hundreds of crumpled sheets of paper in and on which the lyrics are kept. A lot are in my phone, and I lost hundreds of lines when my phone (not backed up) got run over by cars a few months ago. Heartbreaking. I am mostly inspired by other people’s music to be honest, and I go back to the same songs and songwriters time and time again. The best ones you hear new things in every time, and there really seems no end to what you can dig out of other people’s artholes. That said, ideas come from everywhere, all the time- music, films, books, paintings, conversation, observation- and you never switch off. You need to have ears like sponges. ‘Goalposts’ make it sound a bit 2-dimensional. I genuinely think there are no borders or limits when writing about love. Instead of goalposts you should think of it as a multi-dimensional vortex, where there are no ups, downs , left or rights. It is always possible to say something new, or something old in a new way, or something old in an old but meaningful way if you just try hard enough.”

 This interview would mark our own one year anniversary. Do you place much stock in such things? (anniversaries that is; not the stupidity of blogging about Scottish music from 5000 miles away).

“No”.

My playing does not merit possession of these relatively modest guitars.  My rack contains: Alvarez MD60, Ibanez AEF-37E, Epiphone Sheraton 2, Fender Aerodyne Telecaster, Fender Fat Stratocaster. If you had to limit yourself to five guitars what would they be?

“1 acoustic one and 1 electric one. I literally know NOTHING about guitars. I can barely restring them without help. Seriously. I couldn’t tell you what any of the ones you’ve just mentioned look like. I’m honestly much more interested in the music you can make than with the instrument itself. I don’t even consider myself a musician, I consider myself a songwriter. That’s because I’m not very good at all at playing musical instruments. I learned by writing songs, not by practicing technique and theory etc. I really wish I’d have properly bothered to get good at the guitar and piano, because it would make me a better songwriter and performer. Unfortunately I don’t have the dedication or the patience to sit and practice scales. Whenever I get to a musical instrument I always end up trying to write something new, and as such I’m not very good at the actual playing part!”

I’m so excited about seeing Admiral Fallow next month in a little club down the street. The most frustrating thing of my extraordinary awareness of upcoming Scottish bands is not actually getting to see any them. Now that your about to take Scotland by storm, have you cast your gaze at the North American market yet?

“We’d love to but it’s incredibly unlikely I’m afraid. We’re so useless we can’t even organise our own gigs in Edinburgh. Would you like the be our North American booking agent?”

‘Lekking’ in the chorus – especially the line ‘who shouts the loudest’ reminds me of Tim Booth’s vocals. I imagine it has a lot to do with the length and cadence of the words. I’ve frequently read references to Pulp and would like to add that in the more contemplative songs you evoke James. What were you listening to in the 1990’s?

“Pulp, Oasis, Blur, The Verve, The Bluetones, Divine Comedy, The Lightning Seeds, REM. All that sort of stuff. Mostly guitars, mostly British. I like to stick on my James Best Of every now and then because they do have some cracking tunes don’t they, but I don’t listen to them very often at all. That said, you’re not the first person to say the singing reminds them of Tim Booth, but any similarity to him is purely coincidental.”

I’m not so patiently awaiting my James Yorkston boxset and State Broadcasters CD and matchbox moth. Is there anything you are looking forward to on the musical horizon?

“Hmmm… Frightened Rabbit must have a new album soon, and De Rosa have got back together. Apparently De Rosa are working on a new album which is very exciting! Did you ever listen to them?”

Now that the album is out, what do you see on the horizon for Cancel the Astronauts?

“Another one? Immediately!”

Although the world doesn’t need another record review – here goes.

I’ve always placed a good deal of importance on the opening and closing songs of an album. The titular ‘Animal Love Match’ starts off with a slow expansive keyboard fill while repeating the song title. Soon after, an uncharacteristic guitar assault signals that this is not your typical Cancel the Astronauts song.  After a two minute prelude, which is incidentally two thirds the length of almost all the other offerings to date, the two streams of sound coalesce and the familiar melodic onslaught of CTA commences. It invokes the anticipation that this record will take CTA to a whole new level.

A previous single and second song ‘Seven Vices’, in many respects, is the embodiment of the typical CTA song: strong driving melody; playful lyrics and even though I imagine that Mr. Riley doesn’t consider himself to be a singer; his voice is self-deprecatingly evocative – A less sardonic Jarvis Cocker.

I have to admit I’ve find the auto-tune treatment on the opening of ‘Intervention’ somewhat annoying. Seeing the video of the song played live without it in the Rockhopper at GoNorth reinforces how good this song actually is. Comparing the live version with the recorded one, I’m left feeling this is the one song that has suffered from a little too much time in the studio. Flipping back and forth between the two, I prefer the slightly sparser, wider open vocal dynamic of the live version.

CTA wisely use both of the two songs they’ve recycled from the back catalogue right at the beginning. Since Animal Love match seems as much a statement of intent as a song proper, it is the remaining nine songs that give a clear understanding of the overall maturation of their sound.

Love backwards – Evol- the Manic’s Revol instantly comes to this mind.  This is another song about love that somehow manages to tell a familiar story in an engaging way. The endearing thing about Riley’s vocals is their innocent sincerity and how nicely they mesh with the chiming ringing guitars. ‘Making Dynamite’ Is a great tune; it reminds me very much of my now defunct local favourites ‘elephone’. ‘Lekking’ starts out with a keyboard swirl, a singular guitar and vocals that are reminiscent of Tim Booth. This becomes most apparent during the refrain “Who shouts the loudest“.  Of course, the James comparison might just come to mind because of the lyrical choice of a monkey.

With the quieter and contemplative ‘Shapes’, you also can’t but help hear the James comparisons. There is a much greater purposeful conscious vocal range evident however. The similarity with the pacing and cadence of the words might account for the comparison. Perhaps it is really just a matter of emotionally reacting to that particular delivery; regardless of where it originates it is emotionally appealing. There is nothing derivative about the vocal delivery. However, I am curious how someone who has not been immersed in James since the 90s would react to those songs.

Just as the record has a ‘proper’ opening the closer “I Sold my Soul” encapsulates everything that is infectious about CTA and adds a two minute denouement mirroring the opening. One’s reaction to the album probably changes with your own personal musical goalposts; the two bands you inevitably try to pin any new band between. For me, at least, ‘Animal Love Match’ it sounds like 90’s 80’s influenced Brit rock/pop as seen from 2012. It is comfortably familiar at times. Someone of my generation inevitably hears and feels connections to the past a little more forcefully than someone less steeped in “British Alternative”. I personally have no idea how I would classify the noughties; I surmise it is the decade where genre classifications either disappeared or were finally overwhelmed)

Is this the best record I’ve heard all year? No. One does get the sense though that the best is yet to come. So many bands having perfected their sound by the first album, find that it really is only a matter of time before they gradually drift away from the very thing that sets them apart from the rest. CTA seems like a band that hasn’t yet reached its peak. This, although it might not sound like it, is a high compliment. There is so much more potential depth in their apparent musical approach; the very thing bands struggle with for the sophomore record. Although it is a bit early to be wishing for one the day of the debut release, I can’t wait to hear the next one.

All in all, this is an excellent record that should be in your Scottish music collection; perhaps for no other reason than that CTA have striven to create a record and sound that eshews the current Scottish musical sensibilities.

Posted in Bands We've Chatted With

Cancel The Astronauts

About 6 months ago you closed your interview by asking me why I thought the Scottish music scene was special. You seemed content to equate it to Switzerland’s music scene. As much as I miss Sportsguitar, I think the 35 artists we’ve featured since the beginning attest to just how special it truly is. And we’ve only gotten started.  It all started with you, of course, and I think it is about time to check back in. Could you tell us about the inspiration for the song “Something Approaching’ from the last single?

Matthew: I think I wrote the title for that first. I probably heard someone else say it, or read it somewhere, and it struck a chord, and I thought, ‘there’s a song in that’. It’s very unlikely I thought of it myself, as the vast majority of everything I do is stolen. After the title I would have thought, ‘something approaching what?’ And then I would have added the word ‘love’ at the end, because if I’m ever stuck for words, I’ll inevitably stick the word ‘love’ in there. Love is, in my experience, a bottomless black pit from which you can endlessly mine material for songs. To me it’s also one of those words that you can’t overuse (though I’m trying), and that your ear never gets bored of hearing, so it works aesthetically too I think. It might seem lazy, and a bit unoriginal, but it’s true. To paraphrase The Beatles, “all there is is love’. The song is about two lovers who don’t know what they want or how they feel. “

Michael: Wasn’t it “All You need is love”? That The Beatles said?

Matthew: That’s why I said ‘paraphrase’ douchebag.

 The last time out I never asked about the band name. Would you care to tell that tale now?

Kieran: It doesn’t have very exciting origins at all, I’m afraid — our synth player Michael wanted to call us Not Astronaut and I wanted to Cancel something, and we we’re really really desperate for a name. We had spent months saying literally anything to each other and following it up with ‘good band name?’, so when nobody objected too strongly to Cancel The Astronauts, apart from the drummer, we went with that.

The drummer left soon after. It’s fine though, we got a new one.

Michael: It’s not a good story but the name has grown on us, now we’re stuck with both the name and I suppose the story. We should probably start telling more interesting lies about the origin of the name.

The new single – Intervention will definitely be out physically in April.  I just stumbled across your old demo songs and was able to listen to both the old version and the Latin Quarter session to hear the new take on it.  Why did you decide to polish up this one?

“Matthew: It will definitely be out in April  You can download it now from  at www.canceltheastronauts.bandcamp.com , and that download comes with a physical CD copy which will be sent to you from Monday 16th April, the official release date. You will also be able to download it from all the other places (iTunes and that) from the 16th too, but if you want it first, BUY IT FROM US! We decided to do a new version because it’s a cracking song that still stands up against the new ones we’ve written, it hasn’t ever been probably recorded or released and we never felt we quite did it justice.”

Yourselves included, so many bands we’ve talked to in the last 6 months will be releasing a full length this year. How is work on yours progressing?  Song order set?  Album art selected? Special pre-order package contemplated?

Matthew: Ours is progressing well actually! The songs and the order have all been decided, the artwork has been finished, and now we’re just finishing of recording and mixing. We are currently planning a September release, and we hope that won’t change. What could we include with the pre-order package? T-shirts? Signed singles? Posters? Badges? What would you like?

Michael: I was thinking we could do a “Cancel The Astronauts – Secret Files and Origins” comic with profiles of us all, detailing our powers and you know with origin stories for us that tell more interesting lies about how we came up with our name, etc. And badges.”

You both championed and regretted the demise of DeRosa and Mitchell Museum in your first post. Lo and behold – they have both recently reformed. Thoughts?  I think somehow you had something to do with it.

Matthew: I think probably those two bands were too good to break up and they knew it. I know Martin John Henry released a solo album recently, so it will be interesting to hear the new De Rosa material. Bar a few songs on his album (like the fantastic Span) I slightly preferred De Rosa, although the style was not vastly different at all. He must have a lot of material if he can reform De Rosa so soon, which is surprising considering how incredible his songs are- I’d assume they all took bloody ages to write.”

Personally, I’d love it if another A.C. Acoustics record magically appeared. If you really did have the power, what other band would you will back into existence?

Matthew: I did it with those two and I did it with Pulp, but Pulp took a lot out of me. I had to raise some very dangerous spirits for that one. The Smiths? My black magic is powerful, but I’m not sure there are enough demons in hell to conjure to pull that off.”

I’ve been trying to follow up on your original band recommendations.  … rather unsuccessfully.  The Bad Books (UK ) are pretty scarce. Since you  played with them on the 24th, maybe you could convince them to get some music out there. Perhaps I’m just not looking hard enough.

“Matthew: I think they’re working on it!

Kieran: We should bootleg their set.”

I suppose that I am going have to get to SXSW or Scotland to see Cancel the Astronauts?

“Matthew: Probably yes. I warn you though, it will make for a very disappointing holiday.”

Lastly, favourite Over The Wall song? I stand by A Grand Defeat. Agree? Or convince me otherwise.

Kieran: It’s the obvious choice, but for me it has to be Thurso. It’s just a special song, and has just the right amount of pathos, euphoria and trumpets. Also whenever they play it live, the place goes call-the-roofer mental. It’s ace. My second favourite is Gimme Five.

Michael: There’s no denying A Grand Defeat is lovely, but I’ve always had a soft spot for Keyboard Heaven. Lovely heartfelt love for an electronic instrument. But but… I also love Settle Down and… They’re just a very good band aren’t they? I’d probably have to agree with Kieran in the end though. Thurso is astonishingly good. Live, I love it when everyone sings along with the trumpet. Magic.”

T&P 

Posted in Bands We've Chatted With

Matt Riley from Cancel the Astronauts

Matt was kind enough to respond to my few questions and an offer to be on the ground floor of glasGOwest.

“Luckily for you I’ve never been one to resist a groundbreaking opportunity! These are the views of Matt CTA and do not reflect the opinions of the rest of the band Cancel the Astronauts.”

2 admired past Scottish artists?

De Rosa: I don’t know if you’ve heard these guys, but if you’ve heard of us then you’ve probably heard of them, since they were much better and much more successful than Cancel the Astronauts. They had an incredible debut album called Mend which they followed up with their second (and sadly final) album called Prevention. Mend had some cracking indie-guitar anthems like Camera and Father’s Eyes, as well as some lovely, more delicate folk-tinged tracks, like The Engineer (which ends up rocking the fuck out- a great song). Prevention was a fantastic leap forward with De Rosa fusing their existing sound with more layered, electronic elements; each song on it is so good it’s impossible to pick one out. Their singer and songwriter was a chap called Martin John Henry. He’s probably the best lyricist in Scotland at the moment. His words are personal and unique but absolutely captivating. He’s also got a beautiful voice. Scotland’s Radiohead. Only better. They broke up far too soon!

Mitchell Museum: This is very recent news. I’ve only just found out from their website that they’ve broken up, and it might not even be permanent. Let’s hope it isn’t! They’re a pretty new band and they released only one album called The Peters Port Memorial Service. I can hear a lot of Mercury Rev and Flaming Lipsin their arrangements and instrumentation, but I’ve no idea if those bands are direct influences or not. I reckon if they were an American band from 1999 then they’d have been huge in the UK. Not that they’re particulariy retro or anything, their music is actually highly original and pretty experimental. The album flows beautifully- they’ve clearly thought a lot about the sequencing of the album which is often overlooked by lots of bands. I love them most for their melodies though. Number 3, Warning Bells and Tiger Heartbeat have some of the most infectious and joyous melodies I’ve heard from any Scottish band. We’re mostly a pretty maudlin bunch.

2 current bands you’d heartily recommend?

Babygod: I’ve not heard that they’ve split up so I’m including them in current, but they haven’t released anything for ages so who knows? We played with them a few times and I’ve spoken to their lead singer Gerry Campbell once or twice; an incredible live band and very nice, interesting people. They have a song called – Throw It On The Fire – which is absolutely one of my favourite songs ever. Their lyrics are smart, witty and thought-provoking. They tackle very serious subjects (Time, Hope for instance) without ever seeming po-faced or sloppy.Again, they’re a very melodic group and their tunes are super catchy. They seemed quite big on the Glasgow arts scene, so it’s possible that music is only one of the things that they do. Gerry Campbell had recorded with Belle and Sebastian, and seemed to know De Rosa- his voice is actually remarkablysimiliar to Martin John Henry’s. It’s obviously a voice I like.

Bad Books: A brand new band for you! They’ve only played with one gig. Their second will be at our single launch in Edinburgh. They comprise ex-members of Kays Lavelle andCome On Gang! among others, so they have a fine musical heritage on which to build! I don’t think they have a website, a Myspace, or a Facebook page. In fact they might even exist for very long. They started the band to do a one off gig for fun as I recall, but such was the demand they were forced to do some more! You will seem VERY cool if you tell people that you’re in to a great new band from Edinburgh called Bad Books. They sound poppy and fast: a bit like The Strokes crossed with The Lightning Seeds.

Can you give a hat tip toward a third relatively new and upcoming act that you feel should be followed?

Jackson Hall. A new artist from Edinburgh who writes jazz ballads in the style of Randy Newman.

What is it about Scottish music/scene that makes it special?

It’s special because it’s ours. There is probably nothing especially unique about theScottish music scene other than it’s the Scottish music scene, rather than, say, the Swiss music scene, or the Columbian music scene. There are all sorts of bands from all sorts of places that have grown up listening to all sorts ofbands from all sorts of places, so it might not even be relevant to label it the Scottish music scene. Why do you think it’s special?

How’s this?

Cheers!