New Musical Success: The Best New Music From The Last Month…

Without wanting to go in too heavy in these days of storm and stress, music becomes increasingly important to help make sense of, comes to terms with, or just forget for a while, the world and its woes. The future may be uncertain but against such a backdrop 2019 is proving to be a rich, varied, and exciting year in terms of Scottish music, as the following review will evince.

Some may say that’s small and insignificant comfort, but they are wrong. It’s important and necessary comfort, and we hope time spent with the music featured will make your day, and give it an appropriate soundtrack. There’s understated anthems, songs of fragile beauty, experimental compositions, exciting collaborations, the personal, the political, the melancholic, and the uplifting. If you don’t find something to love then we have failed you and ourselves…

First off, it’s a case of “say hello, wave goodbye” as A Mote of Dust release their new album A Mote Of Dust II while simultaneously announcing their, and musical maverick Craig b‘s, retirement. As I’m sure you’ll know, Craig b was an integral part of Ganger, Aerogramme and The Unwinding Hours before recording as A Mote Of Dust, and it’s a quite remarkable musical legacy with nary a bad song to be found from the beginning to the (in this selfish reviewer’s opinion) premature end.

The album launch/farewell gig at Glasgow’s Mono recently showed clearly just how much Craig b is respected and loved as it was packed not only with fans but also many of his musical contemporaries. I doubt anyone else was reviewed in Glasgow that night judging by the number of music writers and bloggers also in the room. So it’s a fond farewell and bon voyage to A Mote Of Dust and Mr b. If you want to show your appreciation, or discover just what all this fuss is about, get yourself a copy of A Mote Of Dust II. To convince you further, this is ‘Slow Clap’:

Annie Booth‘s debut album An Unforgiving Light, (a joint release on two of Scotland’s most discerning record labels – Last Night From Glasgow and Scottish Fiction) is one of the most talked about in recent years – literally. More than any other I can think of, perhaps with the exception of LNFG label mates Sister John, it was the record that people discussed most often at gigs and get togethers, often in hushed and awed tones. Her latest EP Spectral (another LNFG/SF collaboration – &, by the way, more of this sort of thing can only be a good thing) shows clearly that Booth is a rare talent indeed.

There’s a melancholic and haunting quality in her vocals which, on the evidence I have seen, can silence any room, but it is in the songs themselves where the real magic is to be found. All four tracks on Spectral are memorable, but ‘Mirage’ and the single ‘Magic 8’ are two of the best of the year. I’ve been trying for a while to think who Annie Booth reminds me of (cos that’s the sort of thing reviewers do) and have realised that, among others, it’s Aimee Mann, especially in terms of marrying the songs to the way they are delivered. There’s an integrity to her music which demands your attention. During one of those gig conversations, as mentioned above, someone whose opinion I rate highly called her “the best singer/songwriter in Scotland at the moment”. Listen to Spectral and I think you’ll find it hard to disagree. From it, this is ‘Magic 8’:

Citizen Bravo is the latest musical project from Matt Brennan, one-time member of the much-missed Zoey Van Goey. He has his debut album, Build A Thing Of Beauty, released on Chemikal Underground but that is only part of the story. It is also part of, and soundtrack to, Brennan’s research project which includes a film, The Cost Of Music, and an incredible one-off interactive musical sculpture called the SCI★FI★HI★FI, which will tour as part of a series of public lectures in 2019.

It’s a fascinating undertaking, one which should be of interest to any music lover as Brennan looks to the history of music making, and consumption, to better understand the present and even the future. But while that is important, it would mean little for this review if the album wasn’t quite extraordinary. With a lyrical wit and insight reminiscent of Neil Hannon, a band made up of some of the finest musicians around, and a judicious use of samples, you have a record unlike any other you are likely to hear in many a year. Inform, educate, and entertain – Citizen Bravo ticks all the boxes. From the album this is ‘Limbs and Bones’:

In the space of just a few singles OK Button have proven themselves to be one of the most exciting new bands around, one who aren’t afraid to mix the political with the often intensely personal, and all to the most exquisite soundtrack. Their latest, ‘Grenade’, is arguably their finest yet, but then I previously said that about ‘The Message’, ‘Beds’, and ‘Flesh & Blood’. Suffice to say that their debut album is shaping up to be something rather special and one off the most eagerly awaited of recent times.

The band’s atmospheric electronica, and Amber Wilson’s heavenly vocals, lull you into a false sense of security and before you know it you’re floored. OK Button are going to be playing Aberdeen at The Tunnels with SWH! favourites L-Space on July 27th which promises to be a musical match made in heaven, so I recommend grabbing your tickets while you can. While you mull that over, this is ‘Grenade’:

Josephine Sillars featured recently on these pages as guest vocalist on Frog Costume’s excellent ‘A Daydream’ which, while a treat, made you long for new music from her all of her own. Luckily we didn’t have to wait too long. Her latest single ‘Skeleton’ sees Josephine reunited with The Manic Pixie Dreams, and features Spring Break’s DJ Butterscotch. It’s a winning combination of ska-inflected pop, hip-hop, and Sillars’ velvet vocals, with a social-political message at its heart that has never been more relevant. It’s a fine example of the sort of agit-pop song which is all too rare these days in that it makes you dance and makes you think simultaneously. More of this sort of thing:

Next up, it’s the welcome return of Sacred Paws, last seen riding into the sunset clutching a well-deserved SAY Award for 2017’s Strike A Match. How do you follow such a success? Well, if the first single from their forthcoming LP Run Around The Sun is anything to go by Sacred Paws are going to do what they did before only better. As soon as it starts up ‘The Conversation’ (for that is its name) puts the listener at ease with the unmistakable drum and guitar sound that we have come to know, love and cherish. Sacred Paws are back with a vengeance and the world is a far better place for it:

How you feel about the next song will depend how you feel about the music of the mid-late 1980s. If, for you, it was only ever The Smiths, The Wedding Present, The Cure, The Woodentops, The Fall – and many other artists with the definite article – then move on, nothing to hear here. But if you had space in your life for Erasure, Pet Shop Boys, New Order, and even, god help us, Alphaville, then Michael Oakley takes you back, way back, to that time and place. Oakley’s latest single is ‘Left Behind’ (from the album Introspect) and it is as nostalgic for the ’80s as Max Headroom drinking a can of Schlitz. If you’re going to go with Michael Oakley’s ‘New Retro Wave’ then you have to embrace it fully. Go on, try it – what have you got to lose?:

And finally…it’s the Sonic Bothy Ensemble with their album Fields – a record which almost defies definition, but here goes. It’s an experimental, at times unnerving, surprising, and always exciting composition. If you like your ambient music more challenging than chill out – think Harold Budd, Philip Glass, Tim Hecker – then you’ll love Fields. It’s an album which has you believing it’s going to be one thing, then pulls you in a completely different direction altogether.

Whereas many ambient albums are little more than aural wallpaper, Sonic Bothy Ensemble force you to listen, encourage you to engage, and never allow you to settle. It’s quite the most intriguing, hypnotic and thought provoking composition I have heard this year and I’ve been returning to it most nights (often late at night) since that first listen. If you want to know more about Sonic Bothy Ensemble then click here, but I would suggest you first settle back, relax, open your ears and mind, and expect the unexpected:

We told you it was good. Meet you here next month for more of the best in new Scottish music. But while you wait – SWH! now has a regular radio show on LP Radio on Monday nights, 7-9pm. You can catch up with the previous shows, along with all the other fantastic LP Radio shows, by following the relevant links in the sidebar.


Sunday Service: A Review Of Scottish Opera’s Silvano…

2019/20 Programme

A quick look at Scottish Opera’s 2019/20 programme (right) makes it clear that the company are reaching for a balance between the old and the new, the classic and the experimental, the expected and the unexpected. It’s a tough act to pull off as there will be those who think that a national company should concentrate on the tried and tested. Others will think their remit should be groundbreaking and challenging. While you can’t please all of the people all of the time, Scottish Opera give it a good go.

While the coming season has productions of Puccini’s Tosca, Britten’s A Midsummer Night’s Dream, and Gilbert & Sullivan’s The Gondoliers, there is also the promise of John Adams’ Nixon In China, an original piece called Amadeus & The Bard which looks at the similarities between Mozart and Robert Burns, and, most intriguing of all, Missy Mazzoli’s adaptation of Lars Von Trier’s controversial film Breaking The Waves. Add to those the Opera Highlights Tour, the Scottish Opera Young Company production of Sondheim’s Merrily We Roll Along, children’s opera Fox-Tot!, and various pop-up events, and you can see that there is something for everyone, but also everything for some of us, reaffirming Scottish Opera’s reputation as a company of national and international renown.

And I haven’t yet mentioned the Opera in Concert series which puts the Orchestra (conducted by musical director Stuart Stratford) centre stage. The latest of these was at Glasgow’s City Halls on Sunday, the rarely performed Silvano. It is a dramma marinaresco, literally translated as a “seafaring drama”, by the Italian composer Pietro Mascagnic – a classic love-triangle, which, if literature, poetry, and country & western music has taught us anything, never ends well. Set at the Adriatic coast in central Italy, the plot revolves around the rivalry of two fishermen who are in love with the same woman. The drama climaxes in a duel which ends, unsurprisingly, in tragedy.

In many ways this is opera in its purest form. Being able to see as well as hear the majestic music that the orchestra makes, and the skill and passion with which they make it, is a rare treat. This style of concert is one for music lovers as you also get to concentrate on the power and purity of trained opera singers’ voices. Aexey Dolgov as Silvano, David Stout as Renzo, and Leah-Marian Jones as Rosa were all magnificent, but when Emma Bell hit the high notes as Matilde you feared for the City Halls very foundations. With strong support from the chorus in the balcony, this was a tour de force of orchestration and performance.

I have been attending and reviewing Scottish Opera for almost four years now and I can honestly say I haven’t yet had a bad experience, and more often than not have had an unforgettable one. You can find out more about what the coming season holds over at Scottish Opera, and I urge you to take a look at what’s on offer and, if you haven’t yet done so, take a chance on at least one of the shows. If you’re anything like me you won’t look back.

Our Friends In The North: A Review Of Claire MacLeary’s Runaway…

One of the defining characteristics of most successful crime series is to have protagonists who readers look forward to spending time with. This is particularity prevalent in Scottish Crime Fiction. From Sherlock Holmes to John Rebus and beyond, the best crime writers have created characters who are undoubtedly flawed – arguably defined by those flaws – but who carry enough charisma, charm and intrigue to keep us on their side.

It’s with that in mind that we can give a warm welcome back to private investigators Maggie Laird and ‘Big’ Wilma Harcus, whose flaws, while still evident, are less-sensational than an opium or whisky habit. They are back for round three in their fight against Aberdeen’s criminals in Claire MacLeary’s latest novel Runaway.

This time around we find Maggie and Wilma’s relationship beginning to fracture as cases are increasingly rare, often disagreeing as to the best way to go about their business. Imagine Cagney and Lacey, older, wiser, and wearier, but working the slightly less-mean streets of Mannofield rather than Manhattan, and you have some idea as to the women’s dynamic. Not love/hate, more love/exasperate.

When Scott Milne reports his wife Debbie as missing the police aren’t interested so he decides to go private, asking Harcus & Laird if they will help. The two argue as to whether this is a case worth taking on, with Wilma for and Maggie against. When they do it takes them to places which in turn remind them of their past, reassess the present, and make them fear for the future.

Runaway has a distinctly darker tone than MacLeary’s earlier work, commenting on homelessness, the lives of sex workers, and people-traffiking (something which appears to be rife in northern Scotland, also featuring in Douglas Skelton’s latest novel Thunder Bay as well as being central to the plot of the last series of Shetland).

But, as with Cross Purpose and Burnout, Runaway is as much about the drama of everyday living as it is about solving crime. The reason Maggie and Wilma are relatable is because they are so believable. Two suburban middle-aged women working as PI’s is a tricky scenario to pull off, but MacLeary clearly understands these women and their lives.

Whereas Ian Rankin’s Rebus, Christopher Brookmyre’s Jack Parlabane, or Douglas Skelton’s Dominic Queste all have lifestyles which allow them to play the loner, fulfilling crime/noir stereotypes as perfected by the likes of Raymond Chandler and James Ellroy, Maggie and Wilma have responsibilities which many readers will relate to – ones which they take seriously. Family, partners, friends and colleagues, for most of us these are ties which are not easily severed, and they fight for them despite often receiving disapproval, opprobrium, and often condemnation for what they do. Overcoming, or rather dealing with, such attitudes, often from their nearest and dearest, shows true strength and determination.

This recognisable humanity is what makes Claire MacLeary’s novels as notable as they are welcome. She makes nods to, and understands, the tropes and themes of crime fiction but adapts them to her characters rather than the other way round, avoiding cliche and stereotype. This also applies to the way people talk to each other. MacLeary clearly has an ear for how people argue, bicker, and tease, but also understands how they struggle to apologise, explain, or make-up afterwards. It’s as much about what remains unspoken as what is said, and the problems that result from this inability to communicate.

Both women’s life experience comes into its own and it’s their refusal to be overlooked and ignored which gives Runaway a vitality and verve which is rare. MacLeary uses who they are and how others may perceive them as a strength rather than suggesting any weakness, turning people’s prejudices against them. Being underestimated and patronised becomes one of the greatest weapons in their armour.

What is often asked when you review a novel in a running series is, “Do you need to have read the earlier books?”. With Runaway the answer is two-fold – “No you don’t”, but also, “You should anyway”. Runaway stands on its own as a great crime novel, but I’ll bet that once you have made Maggie and Wilma’s acquaintance you’ll want to get to know more. In just three novels they have become two of Scottish fiction’s most engaging characters, who, as suggested at the top of the page, you’ll want to spend more time with. I can’t wait to find out what they, and Claire MacLeary, do next.

Runaway is out now, published on the Contraband imprint of Saraband Books.

Elysian Feels: A Review Of SOYC’s Orfeo & Euridice…

SOYC’s Orfeo & Eurdice

It felt apt that the Scottish Opera Young Company‘s production of Gluck’s Orfeo & Euridice was staged in Greenock as the journey down the River Styx towards the Underworld is how many locals view the similar journey towards Glasgow up the River Clyde. Certainly the backdrop used in the first act looked suspiciously familiar to those who know that part of the world.

This allusion, deliberate or otherwise, was only one of the impressive and inspired aspects in this production. If any theatre company wanted a lesson in how to make their work look spectacular, while making a little go a long way, then they need look no further. The use of colours, costume, and even cloth, were all used to tell the story simply yet effectively.

The stage was alive with blues, reds, and silver – all indicating who was who and what they signified. White veils for the wedding party, black for mourners, silver masks to hide identities, and simple ropes and drapes used as shrouds, shackles, and more. With reflective surfaces coming and going, and an ingenious use of lighting, the attention of the audience was kept throughout. You couldn’t look away for fear of missing something.

And this was apt as ‘looking’ or ‘the gaze’ is a key theme to the story of
Orfeo & Euridice. As with the myths of Narcissus, Medusa, Diana and Acteon, or even the fate of Lot’s wife in the Book of Genesis, forbidden glances, and defying deities, can only end badly. The inventive staging used this to full advantage, breaking the fourth wall by forcing the audience to become part of the performance, made aware of their own presence as blurred faces on the stage.

The other key to audience engagement was the pace that the story unfolds. There was little scene setting as wedding day quickly turns to tragedy before Orfeo begins his heroic journey to rescue Euridice. Although there were nominally three acts the storytelling felt seamless – told as concisely and precisely as possible.

Daniel Keating-Roberts’ Orfeo, (centre stage for the majority of the time), had to hold his own despite so much going on but he did so with aplomb, and the three Cupids stood out not only because of their silver suits, but because each brought a distinct personality to the role. However to single out individuals seems wrong as the whole cast, from Cupids to Chorus (and dancer Kay Davis) came together to deliver a true ensemble performance.

It was easy to forget, and indeed I didn’t give it a thought throughout, that this was the Scottish Opera Young Company on stage, and that tells you all you need to know. Suffice to say, it appears that the future of Scottish Opera is in safe hands

Thanks to Scottish Opera for the use of the images – credit to Julie Broadfoot.

Further details can be found on the Company’s home page, and the most recent SWH! podcast is an interview with SOYC artistic director Jonathon Swinard where he talks about the company and his role.
You can find the podcast here, or listen below:


Social Realist: A Review Of Henry Bell’s John MacLean: Hero Of Red Clydeside…

There are a couple of books which came out last year which have remained on the SWH! ‘must-read’ pile, and which will be reviewed on these pages in due course. One of them is Henry Bell’s biography of John MacLean: Hero Of Red Clydeside, which looks behind the mythology to reveal the man, his life, and offer comment not only on that time and place, but also on the politics of today.

Chapter One begins, perhaps surprisingly, with the subject’s death, and goes on to detail MacLean’s funeral and how widespread the mourning was. It’s an arresting opening which sets the tone for what follows with Bell’s ability to set a scene matched by his clear and concise way with a statistic. More than any other section in the book it shows just how important and iconic John MacLean had become to the people of Glasgow, and beyond. You are immediately made aware that this story is important and it encourages you to read on and learn more about the life which led to this.

Most of us will only know John MacLean, if at all, by his reputation as “Scotland’s Greatest Revolutionary Socialist” without having given too much thought as to who, how, and why. To some that description will immediately make him a hero, to others a villain. As always the story is more complex than that and, as with the the best biographers, Bell goes on to unpick that complexity and makes things more clear and balanced. John MacLean: Hero Of Red Clydeside is a profile of a man whose story demands to be read and understood more widely. It’s a thoroughly researched and engaging read which walks that fine line between giving the reader the facts and telling the story in an involving way.

It looks at MacLean’s Highland heritage and Calvinist upbringing, his life as a teacher (the belief in the importance of education for all arguably at the heart of everything he fought for), his incredible relationship with Communist Russia and the Kremlin, and his links to those involved with the struggle for an independent Ireland. It is little wonder that the UK government, and other western countries, took such a keen interest in this man – a skilled and charismatic orator who could command large audiences for his speeches. Some of the most powerful sections in the book are where Bell details MacLean’s time spent in jail as a result and the toll it took, especially on his health and family.

What is of particular interest is MacLean’s move from his belief in Marxist internationalism to socialist independence, at least where Scotland was concerned. He wasn’t the only Scottish figure to hold these apparently opposing beliefs – years later Hugh MacDiarmid would become a member of the Communist Party and the National Party of Scotland (and be expelled from both), and there are echoes of this complex political and idealistic view evident in Scottish politics to this day. If you want to understand better Scotland’s current political landscape it helps to know your history, and Bell’s book is an excellent place to fill in many of those gaps.

I’m not a great reader of political biographies, but I have read many concerning the lives of philosophers and John MacLean: Hero Of Red Clydeside works in a manner similar to Rudiger Safranski’s biography of Nietzsche, Ray Monk’s on Wittgenstein, Bernard-Henri Levy’s Sartre and, most appropriately, Francis Wheen’s biography of Karl Marx. As with all of those Bell strikes a balance between the subject’s life-story and their ideology – the personal, the political, and also, (as important for MacLean as any of the others), the philosophical.

Henry Bell makes it clear that while MacLean was a man of action, prepared to suffer and even die for his cause, he was also a man of ideas – an intellectual who often placed those ideas above all else. Radical, yes – but only in a society where individuals and groups were, and are, too willing to compromise what they believe. Now, perhaps more than at any time in the last 100 years, John MacLean has lessons for us all. Here begins the lesson.

Henry Bell’s John MacLean: Hero Of Red Clydeside is out now on Pluto Press.

Musical Youth: The SWH! Podcast Talks To SOYC Artistic Director Jonathon Swinard…

For the latest podcast Ali headed to the home of Scottish Opera in central Glasgow to talk to Jonathon Swinard, the new Artistic Director of the Scottish Opera Young Company (SOYC) ahead of their production of Gluck’s Orfeo & Euridice (see right) at the Beacon Arts Centre in Greenock.

Over the past few years Scots Whay Hae! has reviewed many of Scottish Opera’s productions so it was a pleasure to talk to someone at the heart of the company, especially one whose concentration is on youth and the talent of tomorrow. 

As Jonathon explains, the Young Company offers the opportunity for the next generation to perform on stage, work with an orchestra, and hone their craft helping to create a legacy with real impact. The two discuss the aims of SOYC and Jonathon’s role in achieving those, overcoming preconceptions, and how Scottish Opera is managing to reach out to all ages and areas in Scotland.

Although shorter than usual, it’s a podcast which manages to pack a lot in offering a rare and fascinating insight into one of Scotland’s cultural institutions, and we hope it will encourage you to give Opera a try if you haven’t already.

If you are new round these parts there is quite a substantial back-catalogue of podcasts for you to discover. If you aren’t yet a subscriber you can do so, (or simply listen) at iTunes, on Podbean, or by RSS (but you’ll need to have an RSS reader to do so). 

You can also download the podcast by clicking on the relevant link to the right of this post, or, if you want it right here, right now, you can listen on SoundCloud

..or on YouTube:

Thanks to Scottish Opera’s Press Officer, Emma Ainley-Walker, for arranging the interview with Jonathon, and credit to Sally Jubb for some of the images used.

Our next podcast will be with you soon, so don’t go too far…

 

New Musical Success: The Best New Music From The Last Month…

..although it’s more like the best new music from the last six weeks as this review is long overdue. But, working to the saying “better late than never”, we are offering you eight examples of the quality, diverse, and sheer magic music which found its way our way in recent times.

There are old friends and new, presenting instant classics, indie pop, rock, folk, electronica, and many other random words which could also be crammed into a sentence such as this. Never mind such clumsy attempts at description, it’s all about the music, and what sweet music it is.

We begin with Lola In Slacks and their single ‘Postscript In Blue‘ which oozes class from start to finish. You would expect no less from a band whose members include Lou Reid, Brian McFie, Lesley McLaren, Davy Irwin and Fiona Shannon, some of who have been heard with the likes of The Big Dish, Altered Images, Craig Armstrong, Mull Historical Society, The Bluebells, and more. Only an elite few can boast such a CV.

From the off it is clear that Lola In Slacks are a band who are the perfect sum of those impressive parts. Everyone plays their role to perfection, making music which is out of time yet utterly of the here and now. Lou Reid’s smoky vocals are to the fore, reminiscent of European Torch singers Francoise Hardy, Marianne Faithful and, more recently, Camille, and also of North Americans Julie London, Neko Case and Laura Veirs. The voice is perfectly matched by the playing, which is quite exquisite. McLaren’s drumming in particular is an understated thing of beauty. Listen for yourself, then go back, play it again, and listen once more. This could be the start of a beautiful relationship:

Sometimes a band come along and knock you sideways, ticking so many of your musical boxes it’s as if someone has been rifling through your record collection. That was the case with the first listen of ‘Atrocities‘ by Dundee’s Stoor. There’s XTC and Wire in there, followed by what sounds like the Psychedelic Furs if they were produced by Rick Rubin, before the appearance of glam rock riffs so bold Marc Bolan would have pinched them without batting a heavily mascaraed eyelid. Then it starts all over again and you pick up something completely different. Taken from their album Fleam, this is ‘Atroctites’ – prepared to be dazzled

The last few weeks saw the 3rd birthday of record label Last Night From Glasgow, who regular readers will be very familiar with. Suitably they celebrated with a party which featured music from Annie Booth, Cloth, Sister John, and Foundlings, one of their most recent signings. Their EP, also called Foundlings, is out now and it is a great introduction for the uninitiated to their angular and instantly memorable pop songs.

Exhibit A: ‘Enemy’, which sounds like a lost Cherry Red Records’ classic and is a must have for any discerning music lover. That’s right, I’m talking to you – you wouldn’t be reading this otherwise. Everyone needs some Foundlings in their life, it’s just most don’t know it yet. Listen below and prove me right:

A new James Yorkston record is always reason for cheer, and his latest long player, The Route To The Harmonium, has been on close to constant rotation on the SWH! turntable since it appeared last month. Yorkston is one of those artists who is unmistakable and unshakeable. He plows his own furrow with a clear idea as to what he wants to create. And what he creates is always essential, and often mesmeric.

He seems to tap into something undeniably Scottish and literary, as much influenced by poetry and fiction as music, with a desire to tell stories in a tradition which follows on from the ballads and spoken word. From The Route To The Harmonium this is ‘My Mouth Ain’t No Bible’, with James coming over like an East Neuk Preacher Man – where fire and brimstone meets fear and loathing. Funny, angry, wry, and possibly rye, it could just be James Yorkston’s defining moment – except his whole career is littered with those.

Dead Fiction came to our attention last year with the release of their eponymous EP which announced them as a band to take notice of. Actually, you couldn’t ignore them if you tried as their epic rock sound makes them stand out in what is a crowded field. As if to prove that very point they are releasing three singles simultaneously on March 29th, ‘Modern Primitives‘, ‘A Plot or Spine‘ and ‘The Crux‘ out on Meraki Records, which may seem to be showing off, but as it promises to “mark the end of the current sound and line-up” you should make the most of them in this form while you still can. This is ‘Modern Primitives’:

It’s the warmest of welcomes back to these pages to the enigmatic and remarkable Natalie Pryce, a band who dance to their own tune, but who forcibly drag you with them on to the dance floor. I do like a band who unsettle you – I’m thinking of the likes of Captain Beefheart, the Cardiacs, Ministry, the Bad Seeds, Sons & Daughters – all of whom carry with them the threat of threats as yet unnamed, as do Natalie Pryce.

This track is ‘Martin Amis‘, and there is wailing saxophone, understated drums and bass, and whispered vocals which suggest pain and pleasure in equal measure. So hip it hurts, this improves with every play, and gets to the dark heart of its subject in four minutes far better than any biography could ever do:

Frog Costume are new to these pages, but I have a feeling they’ll soon become regulars, certainly if their single ‘A Daydream‘ is any kind of indicator. It’s aching and understated pop which breaks your heart as only a great song can. Deceptively simple, yet packing an emotional and affectionate punch, ‘A Daydream’ is one of the best new songs I have heard this year and it makes me desperate to hear more. And any song which features the vocals of Josephine Sillars of The Manic Pixie Dreams fame is alright by us:

In these times of turmoil it’s good to have constants in your life, and Vukovi are definitely, and defiantly, one of those. Since first gracing these pages in 2015 with the single ‘Boy George’ they have regularly presented us with classic upon classic, and they are almost single-handedly responsible for restoring my faith in the heavier side of rock music (along with the late & lamented You Already Know).

They keep that run of success going with their latest release ‘C.L.A.U.D.I.A‘. All the elements are in place – imposing guitar riffs, driving drums, thumping bass, and Janine Shilstone’s soaring yet soulful vocals which add real feeling to their music. If you haven’t encountered Vukovi yet, then this is the perfect place to start:

That’s yer whack for now, but the next review will be with you before you know it as we try to catch up. If you have sent music expecting it to feature here dinnae panic – there’s every chance it could be included next time round. Thanks, as ever, to everyone who sends their music our way. It all gets listened to, and we couldn’t do it without you…

SWH! now has a regular radio show on LP Radio on Monday nights, 7-9pm, and you can catch up with the previous shows, along with all the other fantastic LP Radio shows, right here –

LP Radio – Live

LP Radio – Previous Broadcasts on Mixcloud


Tell It Like It Is: The Scots Whay Hae! Podcast Talks To Nadine Aisha Jassat…

For the latest podcast Ali spoke to the poet Nadine Aisha Jassat about her new collection of poems, Let Me Tell You This. It starts with a reading from Nadine, and the conversation is interspersed with further examples throughout which should give you a clear idea as to what makes this book so special.

During their discussion the two touch on narrative, family, the possibilities for poetry, the importance of rhythm, voice & language, why she is glad to be published by 404 Ink, and what these poems mean to her, and others. It’s one of the most engaging podcasts to date, and we hope you will be inspired to investigate Nadine’s work for yourself, and consider it with the care and attention it deserves.

If you are new round these parts there is quite a substantial back-catalogue of podcasts for you to discover. If you aren’t yet a subscriber you can do so, (or simply listen) at iTunes, on Podbean, or by RSS (but you’ll need to have an RSS reader to do so). You can also download the podcast by clicking on the relevant link to the right of this post, or, if you want it right here, right now, you can listen on SoundCloud

..or on YouTube:

And, as discussed in the podcast, here is Hopscotch, the short film based on Nadine’s poem of the same name:

Be here soon for the next Scots Whay Hae! Podcast, which, undoubtedly, has a lot to live up to…

Mono Mania – A SWH! Podcast Special: The Glasgow Launch Of David Keenan’s For The Good Times…

Ali & David Keenan: Photo Credit Imogen Pelham

Last month in Mono there was the Glasgow launch of David Keenan’s latest novel For The Good Times. A night of two-halves, SWH!’s own Ali Braidwood was on chairing duties as first Chris McQueer (below) then David himself (above) read from HWFG and For The Good Times respectively before talking in depth about their latest work. It was a really special night and if you weren’t able to make it we hope what you are about to hear is the next best thing.

Ali & Chris McQueer: Photo Credit Imogen Pelham

Thanks to Craig Stoddart who made these recordings while doing a fine job with sound and music on the night. Cheers to Stephen, Tara, and all at Mono for hosting us and making it such a special event, and to Faber & Faber for putting it together.

You can read the SWH! review of For The Good Times here, and Ali’s recent one-to-one podcast with David can be listened to by clicking here . We’re saying it’s one of the best yet, and so are other people, but you can make your own mind about that. However, not until you’ve listened to David, Chris & Ali talking books before a live and attentive Mono audience.

If you are new round these parts there is quite a substantial back-catalogue of podcasts for you to discover. If you aren’t yet a subscriber you can do so, (or simply listen) at iTunes, on Podbean, or by RSS (but you’ll need to have an RSS reader to do so). You can also download the podcast by clicking on the relevant link to the right of this post, or, if you want it right here, right now, you can listen on SoundCloud

..or on YouTube:

The next podcast is a fascinating interview with the poet Nadine Aisha Jassat which you won’t want to miss…

Book Now To Avoid Disappointment: A Preview Of Aye Write! 2019…

From today (14th) Glasgow’s Book Festival Aye Write! is the only show in town for lovers of fact, fiction, food, poetry, prose, biography, comics, and any other form of writing that takes your fancy.

While the vast majority of events are at the festival’s spiritual home of The Mitchell Library, The Glasgow Royal Concert Hall also has its fair share. But it is only right that Glasgow’s most famous library is the focus point for a book festival which is international in scope, but has its roots firmly planted in the city.

Here are SWH!’s carefully selected 10 highlights to give you something to think about, but you can peruse the full programme at your leisure here.

You can also keep up to date with events as they unfold by following @AyeWrite on Twitter or on Facebook. Tickets can be bought here and you can click the links below for further details on the individual events.

Robin Robertson – 14th Mar 2019  •  7:45PM – 8:45PM  •  Mitchell Theatre 
Robin Robertson returns to Aye Write! with the most decorated book of his career. Winner of the Goldsmiths Prize, The Roehampton Poetry Prize and shortlisted for the Man Booker Prize, The Long Take is one of the most remarkable – and unclassifiable – books of recent years.

The book’s protagonist Walker, a D-Day veteran, is brutalised by war, haunted by violence yet resolved to find kindness again, in the world and himself. As he moves from New York to Los Angeles and San Francisco we witness a crucial period of fracture in American history, one that also allowed film noir to flourish.

You can read the SWH! review of The Long Take here

Stuart Cosgrove & Ken McNab – 15th Mar 2019  •  7:45PM – 8:45PM  •  Glasgow Royal Concert Hall
A momentous year in musical history has given rise to two new books. Stuart Cosgrove completes his trilogy with Harlem 69: The Future of Soul in which a Rabelaisian cast of characters including Aretha Franklin, Donny Hathaway, Stevie Wonder and Nina Simone feature in a tale of crime, gangsters and a darkly vengeful drug problem. 

Ken McNab’s And in the End is the story of the last acrimonious days of the Beatles played out in 1969, the year that saw the band reach new highs of musical creativity and new lows of internal strife.

You can read the SWH! review of Stuart Cosgrove’s Harlem ’69 here

Anna Groundwater – 16th Mar 2019  •  11:30AM – 12:30PM  •  Mitchell Library
Anna Groundwater is a cultural and social historian of early modern Scotland at the University of Edinburgh and acts as a consultant for historical television and radio programmes, appearing on Scotland’s Clans and In Our Time. 

Her book Scotland Connected is a user-friendly and thought-provoking guide to the key events in Scottish, British and World history, readily demonstrating the connections between the three.

SWH!’s Ali Braidwood will be in conversation with Anna Groundwater for this event which is must for anyone with an interest in Scotland’s history and heritage…

Stephen Millar & Alan McCredie – 17th Mar 2019  •  4:45PM – 5:45PM  •  Mitchell Library
Finding himself faced with a feeling of disconnection from his city of birth, Stephen Millar set out on a mission to capture the heart and essence of Glasgow, meeting with members of a remarkable variety of clubs and sub-cultures from pagans, to cosplayers and traditional musicians who make up the fabric of the city. 

His book Tribes of Glasgow moves beyond stereotypes and delves deeper into the origins of these tribes. Scottish photographer Alan McCredie brings these stories to life through a blend of portraits and candid snaps.

This event is chaired by Ali Braidwood from SWH! so please join all three for what will be a fascinating insight into Aye Write!’s, and SWH!’s, home turf…

David Keenan & Michael Hughes – 17th Mar 2019  •  6:30PM – 7:30PM  •  Mitchell Library
David Keenan’s For the Good Times follows Sammy and his three friends in the Ardoyne, an impoverished, predominantly Catholic area of North Belfast. It is a book about the devastation that commitment to ‘the cause’ can engender.

Country by Michael Hughes is set in 1996 when, after 25 years of conflict, the IRA and the British have agreed an uneasy ceasefire, as a first step towards lasting peace. But if decades of savage violence are leading only to smiles and handshakes, those on the ground in the border country will start to question what exactlythey have been fighting for.

You can read the SWH! review of For the Good Times here, and David was a podcast guest earlier this year which you can catch up with right now

Murray Pittock – 23rd Mar 2019  •  4:45PM – 5:45PM  •  Mitchell Library
Murray Pittock is Bradley Professor at the University of Glasgow and a Fellow of the Royal Society of Edinburgh and Royal Historical Society. His latest book is a study of enlightenment in Edinburgh like no other. 

In a journey packed with evidence and incident, he explores various civic networks – such as the newspaper and printing businesses, the political power of the gentry and patronage networks, as well as the pub and coffeehouse life – as drivers of cultural change. His analysis reveals that the attributes of civic development, which lead to innovation and dynamism, were at the heart of what made Edinburgh a smart city of 1700.

SWH!’s Ali Braidwood will be in conversation with Murray Pittock for this event, and it would be great if you could join them, and join in…

Donald S Murray – 24th Mar 2019  •  4:45PM – 5:45PM  •  Mitchell Library
In the small hours on 1st of January 1919, at the entrance to Stornoway harbour, the cruelest twist of fate changed at a stroke the lives of an entire community. On that terrible night the HMY Iolaire smashed into rocks and sank, killing some 200 servicemen on the very last leg of their long journey home from war.
 
As the Women Lay Dreaming is a deeply moving novel about passion constrained, coping with loss and a changing world, it explores how a single event can so dramatically impact communities, individuals and, indeed, our very souls.

You can read the SWH! review of As the Women Lay Dreaming here, and Donald was a memorable podcast guest last year, a conversation which is still available for you to listen to

Shaun Bythell Introduces… Daisy Johnson and Alan Trotter – 24th Mar 2019  •  6:30PM – 7:30PM  •  Mitchell Library
Shaun Bythell, owner of the largest second-hand bookshop in Scotland and author of Diary of a Bookseller introduces these two extraordinary debuts.

Daisy Johnson’s Everything Under turns classical myth on its head and takes readers to a modern-day England unfamiliar to most. As daring as it is moving, the novel is a story of family and identity, of fate, language, love and belonging that saw Daisy shortlisted for The Man Booker Prize in 2018. 

Drunk on cinematic and literary influence, Alan Trotter’s Muscle is a slice of noir fiction in collapse, a ceaselessly imaginative story of violence, boredom and madness

You can read the SWH! review of Alan Trotter’s Muscle here

Beerjacket – 29th Mar 2019  •  7:45PM – 8:45PM  •  Glasgow Royal Concert Hall
Nearly five years since the release of his last album, Darling Darkness, Beerjacket returns with his most ambitious project and album to date, Silver Cords. 

Accompanying the 12 songs are a collection of 12 short stories; intertwined with the music The combination of sound and print creates an ethereal tone which binds the stories with a dreamlike, magic realism quality, and certain recurring themes of isolation, now-ness, interconnectedness, loss, and fear. 

Ali Braidwood is delighted to be chairing this event so why don’t you join Beerjacket & he for what promises to be a musical and literary treat.

You can read the SWH! review of Beerjacket’s Silver Cords here, and the man himself was a recent podcast guest which is still available for your listening pleasure

Charly Cox and Nadine Aisha Jassat – 30th Mar 2019  •  4:45PM – 5:45PM  •  Mitchell Library
In She Must be Mad, Charly Cox captures the formative experiences of today’s young women from the poignant to the prosaic in writing that is at once witty, wry and heartfelt. Written for every woman surviving and thriving in today’s world, for every girl who feels too much, her poems say ‘you are not alone’. 

Nadine Aisha Jassat was recently named as one of 30 inspiring young women under 30 in Scotland. Her spoken-word piece Hopscotch was made into a film in 2017, and Let Me Tell You This is her debut poetry collection.

Let Me Tell You This is out now, published by 404 Ink, and Nadine will be a guest on the SWH! podcast in the very near future…

That’s all folks – and if you do make it to one of the events Scots Whay Hae! is involved with please come and say hello.