Thursday, 12 November 2009

Editorial: Does thinking local mean staying local?

'local band'
[Somewhere else's 'local band']

This editorial is born more out of bewilderment than anything else. You know that feeling when somebody shatters the zen-like equilibrium you’ve been maintaining for as long as your well-pickled memory bank can stretch back to? Well, that’s exactly how we’re feeling right now.

To paint the picture, we were recently contacted by an editor of a well known, well respected UK music publication (which will remain nameless) asking whether we could write a 500-word feature on a Scottish band that had been tickling our music-loving tastebuds lately. The reason being that his much read periodical was sorely lacking in north of the border coverage.

As staunch tub-thumpers of the local scene, we readily agreed to this mutually beneficial proposal and responded with a list of four bands we think are worthy of national press exposure (again, for the sake of dignity, these four bands will remain anonymous, but rest assured we’ve featured the quartet prominently over the last year). The response was not quite what we’d expected.

Depressingly, not one of our suggestions was deemed an adequate candidate for a meagre 500-word feature. Not one. That’s four bands we’ve lobbied for on this blog; four bands that a host of Scottish rags/zines, including The Skinny, The List, Glasgow PodcART, and Song, by Toad, have variously championed with considerable relish; four bands that regularly sardine-pack punters into sweat-soaked caverns on both the east and west coast. In other words, sure-fire winners. Or not?

See, when you’re writing about bands from the local scene that’s exactly how you think about it - a band from the local scene. There’s no heed paid to how they will fare in the big, bad world. Not a moment of consideration is given to whether the music making miscreants stood before you could actually sink or swim in the shark infested waters of the wider musical ocean. You just think: This is here. This is now. This is great.

But is it?

Our experience of the editorial cold-shoulder, despite running through a slew of potential caveats (“oh, he didn’t hear the right MySpace songs” or “oh, he mustn’t like those types of music”), suggests we could all be kidding ourselves. Think about it, this was a music editor proactively seeking a Scottish band to feature. Someone who WANTED (and probably still wants) to focus on bands up here. Yet when four of our finest were put forward, they were rejected. And it wasn’t just a flat out rejection. No, it was worse. It was complete and utter ambivalence.

Scotland’s microcosmic music scene may benefit from an approving environment that will always stand by its own, but is this the foolhardy response of myopic parochialism? Are we all (and by ‘all’ we mean media, promoters and fans) draping an invisible cloak of praise over our bands and allowing them to be found out in unforgiving, un-hoodwinkable climes? Christ, are we taking part in the Emperor’s New Clothes of music journalism?

Perhaps the proof lies in the grotesquely overcooked pudding that is the mainstream media. How many Scottish acts can you name that have stacked up column inches in the national press in recent times. Off the top of our heads we’ve got The View, The Fratellis, Glasvegas and Paolo Nutini. A sorry cast of major label signed acts, you’d have to agree. Lagging behind is The Twilight Sad, Frightened Rabbit and We Were Promised Jetpacks – three bands with one common denominator: they’re all signed to (the admittedly brilliant) FatCat, a Brighton-based record label.

So why are local label-tied acts being completely disregarded by the national press corps? Perhaps it’s that age-old adage that southern music journalists can’t push their hyperbole-scrawling pens past London? Or maybe, just maybe, our music scene needs to open itself up to more holistic thinking. Rather than sucking tight on the teat of the Scottish music scene’s ever-giving bosom, bands should think about advancing outside their comfort zone by getting gigs in places where they know they’ll have to work to win over a non fawning rash of sour-chopped tykes.

And what can we in the regional media do to help? Well, rather than meeting each promising new act with a stream of superlatives, it could be time to cut the crap and do some contextualising. To get bands ‘on the radar’ perhaps we need to let them know where they stand in the bigger picture instead of appraising them through a tartan-tinted microscope. And if so, then UtR has some significant changes ahead, as do those residing in the same cul-de-sac of online music journalism.

Of course, we still stand by every one of these four bands. And in our staunch, undoubtedly Scottish, resolve, there remains an element of doubt gnawing away at the back of our brainboxes that says: it’s not us that got it wrong, it was them. Maybe that’s the way we’ll always see it.

Words: UtR

What do YOU think?
Are we all blinkered in the way we view our local music scene?
Are the national tastemakers shortsighted in their outlook?

Labels:

Bookmark and Share

34 Comments:

Blogger Writers said...

what did this editor say?

12 November 2009 10:50  
Anonymous Nick said...

We don't think the issue is what was said, it's the fact that four of what we thought were the best new acts in Scotland weren't deemed good or interesting or original enough for UK-wide exposure.

The point is not whether he was right or wrong (because he's just one person with one opinion), but whether it's unhealthy to become too focussed on the local scene.

12 November 2009 11:14  
Blogger Writers said...

i think it is important what he said, you put the effort in and it was disregarded because of his own taste, I'm guessing?

12 November 2009 11:21  
Anonymous Anonymous said...

I'm not sure what I think about this, but "tartan-tinted microscope" gave me a really good laugh, and that's the main thing.

12 November 2009 11:31  
Anonymous Ally Brown said...

maybe you've just got shite taste Billy?

;-)

12 November 2009 12:02  
Anonymous Anonymous said...

without naming the 4 bands how can we know if it was the tartan microscope or the good taste of the editor. This is a bit of a non article.

Anyway, name 4 non scottish bands that have 'broken through' this year that arent pish. Rock and roll (on a big scale) is dead, local scenes are all that you can hope for.

12 November 2009 12:11  
Anonymous Ally Brown said...

I think people can become myopic if ALL they listen to is local bands.

But one guy's opinion (editor or not) doesn't mean everyone has to rethink their own. If the magazine was Q then you probably recommended bands too interesting. If the magazine was NME you probably recommended bands too ugly etc etc. I wrote about a local band for a national magazine in the summer there, that editor was impressed. Swings and roundabouts, there's no accounting for taste blah blah.

12 November 2009 12:19  
Anonymous Anonymous said...

I'm glad it's made you have a re-think. I like this blog and appreciate what you've done for Glasgow/Edinburgh bands but have always felt that critical reviews are more useful.

I agree that the Glasgow scene is too introverted. There's a lot of high-fiving and ass-slapping between sound-a-like bands who seem to be foregoing the process of writing memorable songs in favour of perfecting their Simon Neil impressions.

Scotland is crying out for a distinctive creative voice. Just because everyone has suddenly woken up singing in their own accents doesn't mean we've come to realise our true musical identity.

I personally find a lack of excitement, a buzz I can tap into. Instead, a warm cosy snugness (or should it be smugness?) where everyone's amazing but we're all victims of 'the current climate'. It dilutes the desire to prove yourself as a band as well as creating egos. Community is great, but there's a distinct feeling of preaching to the converted going on in the indie press.

12 November 2009 12:22  
Anonymous Anonymous said...

I'm going to post this anonymously, as I'm aware a lot of bands and other Scottish music types read this blog. But I think the editor has probably been right, despite your best intentions for the four acts you selected.

Part of the problem - and this could be UK-wide - is that, as you covered in an earlier piece, there is this insatiable fascination with 'new' bands, over 'good' ones (though I suppose it helps if you feel they fit into both categories).

Media weight tends to get behind acts that generate a following or buzz over a short period of time, though as you hint at in your article this buzz tends to be concentrated in the local scene. It's not hard in Scotland to go from unknown to buzz band, there's only a few key people you need to have on your side: namely, you guys, Glasgow Podcart, Vic Galloway and Jim Gellatly. That's usually enough to get the ball rolling and after that, most other press are happy to go along with it as up here, everyone's watching everyone else.

There is also a problem in that the main scene is still focused on Glasgow. Sure, we can say there are new pockets springing up in the other big cities but a lot of these bands with time choose to either move to or concentrate on Glasgow venues and Glasgow-based press. We forget, then, that there are a number of cities up and down the UK like Glasgow, each with their own collection of bands and sounds and it is only when you try to compete on a national scale that this can be exposed.

Very few of the bands featured on this blog have made any real effort to step outside their comfort zone with regular gigs down south and this might be why we don't have a true gauge on how lasting our music is on a UK national scale.

12 November 2009 12:23  
Blogger Steven said...

I think it is important to look at how blogging and local media have changed the music industry. As mentioned above, perhaps the future is more of a focus on local scenes as the bigger picture becomes increasingly irrelevant.

As this was only one editor, we shouldn't attach too much importance to it at this stage.

Anyone who watched the Oxjam gigs, or was at the Bowery's birthday last weekend, would certainly testify that the local Glasgow and Edinburgh scenes are in a very healthy state. The crowd reactions to the likes of Jesus H Foxx were not dependant on context, or the approval of a journalist form a national magazine. It was based on the fact that everyone of those fans really loved the music. And those Foxx fans will not be told that they are wrong.

To suggest that the Scottish music scene requires the approval of one influential editor is to undo all the amazing work this site and others have done to promote Scottish music. I say we carry on and they will catch on in time!

12 November 2009 12:47  
Anonymous Bart said...

I think anyone can tend towards bias if their focus is only on 'local' bands. It's a bit like going to see your mate's band - you tend to focus on the good points and ignore the bad ones. Because, well, they're your mates.

But as - with the post about writing about covering too many local acts - this isn't necessarily a bad thing. It's all just personal opinion, and if it gives a new/developing act a little more exposure, where's the harm?

I think the problem with this magazine's rejection of your four nominated acts is that it implies there are no new bands in Scotland good enough to get the kind of National exposure they were offering. And that's clearly wrong.

12 November 2009 12:52  
Anonymous Steven Milne said...

I think this is a really interesting point, the UK music industry in general as whole is a bit stifling and its interesting to read someone talk about it. It seems a bit backwards to ask you to reccomend talent, and then decline your suggestions. But as Ally says, its only one persons opinion.

I think bands should go as far and wide as possible to play to new crowds and i would say even outside the UK . Ive seen bands play to 80 people here and go abroad and play to 800/ sell out shows (e.g The Wave Pictures/ Slow Club come to mind).

The point that maybe bands should make an attempt to play to completely new people / out of comfort zone is SO true i think. Its the most important way to become a better band.

This is pretty fresh for me, as my band supported Broken Records last night in Aberdeen. I was really excited about playing because we havent played here since June's album launch and had a fair lot of people down to see us-but it felt a bit wierd. It was almost unrewarding because although I enjoyed playing (massive sound issues aside)it didnt feel right. Then when we came off everyone we spoke to said it was a great set etc but its to be expected that theyd say that - even though i know we could play much much better.

Im now looking forward much more to upcoming gigs away from home because when you pull it off and it goes down well, its a massive confidence boost because these people havent heard you before and theyre getting into it.

A good gig out of town to new people can be enough to make you feel its worth it/ your actually getting somewhere. Or you can play your home town 24/7 and not really get anywhere in the long run.

But then I am from Aberdeen, its maybe different in Edinburgh/ Glasgow where you actually have active media / a recognised scene.

12 November 2009 13:08  
Anonymous Anonymous said...

it can be difficult for bands to play outwith their home town unless it is an organised club night or as support for a band with a recognised fanbase in that place. Otherwise, they could be losing money and playing to maybe a dozen people.

Having said that, some Glasgow bands with 'big' intentions seem content to play to a dozen people in the Captain's Rest and be part of the back-slapping, high-fiving scene that is mentioned in a previous comment.

For a four/five piece band to go down to London for a couple of days you are looking at spending around £100 per member.

Would that money be better spent in a studio recording?

There are so many decisions for bands to make. Is it better to make a splash in Glasgow and Edinburgh and gradually start moving up the venue chain rather than tour tiny pubs in the Northern Higlands to no-one or next to no-one that has heard of you?

To be honest I don't think there is a right or wrong way to do it. It depends on the band, their attitude and their music. And probably their finances and whether they can get time off work or uni.

12 November 2009 13:46  
Anonymous Nick said...

Part of the argument, I sense, is the age old discrepancy between what "music lovers" like and what Joe Public likes. People who take an active interest in music are much more likely to reject whatever bands the mainstream media supports (with good reason) and instead seek out exciting new music (with good reason).

And that's when you get a debate like this. 9 out of 10 people could not care less about the local music scene, but the 1 out of 10 who do are more vocal and passionate about music.

It still doesn't really explain why a clued-up editor of a well respected music magazine was as dismissive as he was. That will remain a mystery to us all.

12 November 2009 14:07  
Anonymous Martin Moog said...

It's a shame that the London media gets the last say on this issue. I was reading report earlier by Simon Frith and Martin Cloonan that discussed the state of the Scottish music scene (circa 2002 I think), and it mentioned that what Scotland required to generate momentum behind artists here was a hyperbolic music press, and I admit, I have to agree a little. There is value in promoting who we think is good in a Scottish context. The Scottish music scene is not the London music scene, and while I'm not advocating isolationism here, I think it's more important to be proud of what we are rather than caring if our "big brother" thinks we are cool or not.

In guessing who four of these acts might be, I imagine they are perhaps not the "finished product" that said magazine editor would expect, and that to me is the problem with trying to translate to him/her why this band is worthy of coverage. We, as participants in the scene, audiences, know that certain bands here have great potential, that they are improving all the time, that the scene is currently at a state conducive to quality acts developing and emerging. And this guy not being on the ground, may not be able to recognise which ones they are.

12 November 2009 14:10  
Blogger Stuart said...

Same thing happened to me, a pretty large online 'tv' setup asked me to recommend some bands they could video (I think they were in town anyway and fancied killing two birds etc). I gave them contacts for 4 or 5 of what I thought were the hippest, most happening acts around (so ones featured on itm?, Tigerfest alumni etc).
The response was an overwhelming 'meh'. I believe the guy posing the question was keen on one of the bands but his cronies presumably weren't.

My selections were very mindful of what is 'happening' right now, they were fairly decent-sized names (at the indie level), and they were, I felt, bands who look impressive live as well as being musically top-notch.
I suspect that they were just disappointed I didn't have Glasvegas' phone number.

But I think everyone up here gets calls from major scouts etc, periodically, asking what's the next big thing, as they can't be bothered checking out the cities here for themselves. Moreso perhaps, it's maybe like the syndrome where a band can't get signed until there are 20 A&R men at their London showcase. These people are looking for some sort of validation or confirmation that their take on music in Scotland is correct. They don't actually want your opinion unless it matches theirs.

12 November 2009 16:39  
Anonymous Anonymous said...

This echoes one of the predominant patterns in music journalism in recent years - that of the "hit or miss" review, whereby the sole premise of the review is to ascertain whether an act will be successful or not, rather than discuss any qualities the music may have. In many ways, this is now an outmoded approach - a band does not need to guarantee 3 hit singles to promote their album. This would also go a long way to explaining the editor in question's decision not to cover these bands - why cover them if they're not going to be massive? The answer, is that if you are looking to cover the Scottish music scene, then cover it, and tell us what you think about the music, for better or for worse.

12 November 2009 17:16  
Anonymous Anonymous said...

I don't think UtR should be too concerned about what some London-based magazine editor thinks. The mainstream music press is becoming increasingly irrelevant anyway...

12 November 2009 22:24  
Anonymous Anonymous said...

Living in Scotland but not being Scottish, I do feel that there are a few good Scottish bands out there.

I like listening to music, especially live, and am pretty open to different and also new stuff. It was more by chance than planned that I got "hooked" to Scottish bands. Well, it was kind of chance with Frightened Rabbit, as I was curious when I heard they are originally fom the Scottish Borders. For some of the others it was convincing live performance(s), e.g. Twin Atlantic and catchy/uplifting tunes of others, e.g. The Dykeenies.
Only after lastfm recommended more and more Scottish bands (quite a few I didn't and still don't like) did I start to read blogs, listen to podcasts like UTR to find out what else Scotland has to offer.

So, I personally find it very good that you and others support the local music scene, even more so in times where weird Teenage Twins are made to believe that they have talent, or what is the xfactor meant to be?

13 November 2009 13:29  
Anonymous Matthew said...

Given the sort of shit I have seen these clowns trumpeting as the Next Big Thing my instinct is simply to shrug it off and ignore the cunts. Fuck 'em, who cares - I could go through their £4.50 monthly issues of shiny toilet paper and do the exact same thing.

If the music's good it will get through anyway if the bands are prepared to work hard enough, and if it doesn't get through will it give anyone who likes it now any the less pleasure because of it?

13 November 2009 17:06  
Anonymous Matthew said...

If the stuff we were into was going to be embraced by the London glossies then we wouldn't call it 'alternative'.

And they don't half cover some shit, so balls to them.

13 November 2009 17:17  
Anonymous Matthew said...

Oh minge, I thought that first comment had been lost.

I humbly accept my Three-Post Mentalism.

13 November 2009 17:18  
Anonymous Matthew said...

Oh fuck it, I might as well keep digging.

Which fucking magazine was it, because Clash, Word and Mojo have all reviewed Meursault very favourably in the past (thanks Ally), and I assume one of the bands you mentioned must have been them.

So if you're talking about these magazines, then the editor may wish to actually read his own publication from time to time, because otherwise he might come across as not having much idea what he's actually publishing.

Alternatively, if it's Q or Uncut, then they publish dreary dadrock pish, so who the hell looks to these magazines for validation in the first place? Sure it would be nice to be featured in them because exposure is exposure, but as to really caring much if they don't like it, fuck 'em. I'd like to see them get excited about a band I rate first, thanks, before I worry what they think about stuff I like.

Right I'm off for a pint to put an end to this madness. Sorry about what's happened to your comment thread.

13 November 2009 18:18  
Blogger Kory said...

As an outsider, living in des moines, iowa, usa, I have long found that the Scottish scene has a lot to offer. Having become a fan of some of the Scottish artist that did ‘make it big’, I’ve made an effort to dig deeper, and I feel it’s been worthwhile. I’d even venture to say that Scotland seems to be producing more good bands per capita than anywhere else. Sure, I’ve run into a number of mediocre bands, too, but it’s hard to see how this English editor could reject all four of your suggestions.

Some of the previous comments mention the idea that bands would do well to play south of the border. I’ve noticed that most of the Scottish artists I follow on myspace repeatedly play Glasgow and Edinburgh, and rarely, if ever, venture into England, or elsewhere. I’ve never quite understood this. The challenge of winning over new fans will only force an artist to refine their live show.

14 November 2009 03:29  
Anonymous Matthew said...

Kory (and others who mentioned it) is absolutely right on this point. Big in Edinburgh or Glasgow is one thing but if you actually want to make any kind of a name for yourself or 'break' in any wider sense then you have to play outside your comfort zone as often as you can manage.

It's not the easiest thing to arrange, nor the cheapest thing to do, but it definitely has to be done if you want to push on to the next level.

14 November 2009 13:44  
Anonymous Anonymous said...

This an overdue note of self-doubt. Asking ourselves what will endure from this 'scene' (if it is a scene), is a good starting point. From what I hear, there's a similar effect in Northern Ireland at the minute. A hugely buoyant,incestuous,involved musical horizon. Healthy but inward-looking. No coincidence? New confidence and energy but maybe a lack of perspective. The confidence and energy is exciting, though...

15 November 2009 13:03  
Blogger Jim Gellatly said...

So many things to react to, but mainly...
"Under The Radar" - you do exactly what it says on the tin. I like to think I've got my ear to the ground, but you guys are still introducing me to interesting stuff on a regular basis. Shame you won't reveal what the editor said though, as it is possible (though highly unlikely) that you selected the wrong 4 bands.
The suggestion (from Stuart) that major labels phone us so-called tastemakers every so often is correct, but I'd say the labels are pretty clued up anyway, as most of them do have scouts based up here (I'd forgotten how many until I counted them all at the Cassidy gig at Tut's just before they signed to Mercury).
UtR serves as a great tool for recommending bands, so don't go down the route of featuring the bad bands (and there are plenty). Nobody benefits from that.
That'll do for now, but I'm sure I'll be back with more.

16 November 2009 11:36  
Anonymous Ally Brown said...

i'm interested in this report which Martin Moog cited above, saying Scotland needs a hyperbolic music press. Funnily enough I disagree, but we're probably looking at it from different perspectives. I'm a music fan who happens to be Scottish, my interest is in good music wherever it comes from, and that's what I want the music press to tell me about. The Scottish music industry wants to be successful, which is different from being good. I know most musicians just want to make enough from their music to quit the shitty day job and focus on the music for as long as possible, that's entirely reasonable and fine. But the music press's responsibility is to its readers, not its advertisers (hello UK's most hyperbolic music mag, any comment?). Just because a mag might say there are 10 new essential must-hear bands from Dundee every week doesn't make it true. If that means those bands never make any money, that's a shame for them, but when it comes down to it there are actually more important things people could be doing for money than making endless reams of average new music.

16 November 2009 14:15  
Anonymous Anonymous said...

It is unreasonable to complain about the London based media being ambivalent towards Scottish bands, when the Scottish media itself is in thrall to the London media.

Look at Radio Scotland for example. The amount of coverage it gives to Scottish acts is pitiful, with only two or three evening shows giving any coverage to Scottish acts that haven't already broken through in England in a big way. If you read a glowing article about a Scottish band in any of the mainstream Scottish newspapers, it's usually because they have just broken through in England or America. Every three or four years, a Scottish music TV show, such as the Beat Room or the Music Show, comes on the air for one or two short seasons before it is cancelled for no apparent reason.

If Scotland really wants a music scene where Scottish acts can survive and thrive, it has to be possible to have a hit in Scotland without being successful in England first. In order for this to happen, we would need a regular stream of local music coverage on TV, much more daytime radio exposure for Scottish acts on local radio stations, more dedicated local music coverage in the Scottish press, and a local equivalent to magazines such as the NME and Kerrang.

How would all this be achieved? Well, for starters, BBC Scotland has to make a meaningful commitment to support Scottish music, rather than the few bones that they are currently throwing. Government funds should be made available to support publications which are dedicated to the Scottish music scene, and quotas should be imposed on local radio stations by the licensing authorities. This would encourage more private investment in Scottish music, and could form the foundation of a genuine Scottish music industry, that is able to offer lasting financial support and opportunities for Scottish labels, publications, and musicians.

A decade or two ago, this would not have seemed so important, as it was financially feasible for Scottish bands to travel down south on a regular basis in order to gain exposure. Now, though, with the cost of transportation going through the roof, it is vital that Scotland establishes a commercially viable music industry sooner rather than later.

16 November 2009 15:14  
Anonymous Anonymous said...

The Scottish music scene has often been a little "narrow." I don't mean in terms of the output I simply mean in terms of the bands it pushes.

The selected "arbiters of taste" all seem to pick the same half dozen bands and bore anyone who cares to listen about their merits to the detriment of many other talented artists.

Rarely will one of these individuals "break from the pack" and admit that the chosen half dozen might not be quite as good as we're led to believe.

It's disappointing that at a time when more music is being released than ever before too many journalists and broadcasters continue to play safe.

In the last two years I have seen about a dozen bands that really impressed me (and many, many more who didn't) but between them they have failed to manage so much as a review in The Skinny.

16 November 2009 16:48  
Anonymous Anonymous said...

I believe Glasgows music scene is too influenced by what biffy clyro started. What if you dont sing in a kind of americanised scottish upper class accent? what if your band is fronted by someone out of town, say ireland or england. Look at the winners of your sound, every single month its the same thing, scottish folk. Damn... being in a punk band with an an englishmen as a front man would be suicide in this city??????

16 November 2009 18:09  
Anonymous Ally Brown said...

Anonymous @ 15:14 - why is all that "vital"? All you are promoting is Scottishness instead of music. The English market is 10x the size of ours and incredibly similar - of course it's a target, what's wrong with that? Tbh you sound more like an industry lobbyist than a music fan.

And Scottish government funds have actually been given to one publication - Clash got £230,000 from tax-payers to develop its website.

16 November 2009 18:33  
Blogger Jim Gellatly said...

When it comes to funding and the promotion of music in Glasgow especially, this is such a wasted opportunity: www.glasgowcityofmusic.com
Something like this should be a big deal, but the profile isn't exactly in your face.

16 November 2009 20:28  
Blogger Pinup Nights said...

As Matthew and Ally have both said, an important issue here is the magazine that was being pitched to. Q, NME - arguably as bad as each other. (What music mags do folk actually rate these days? Dazed perhaps?)

The comparative lack of media in Scotland does of course exacerbate the traditional music biz trait of certain acts being pushed far beyond their abilities due to the folk they've got chummy with. It makes the unmerited favouritism really easy to spot. I've complained about this long and hard and it's a different debate than this one.

Given the fact that there is a far bigger population in England, you could argue that the scene there is even more incestuous/blinkered than here. You'd think with 10 times the population there'd be 10 times the diversity in the musical output. 10 times the tastemakers. But there isn't. Folk like Zane Lowe wield terrible power.

And take Marina and the Diamonds. She was on the BBC's Sound of 2009 list and due to the success of Florence they have just delayed her album a year. She will probably be on the Sound of 2010 list! Built around her is an incredibly self-serving scene composed of Golden Silvers, Starsmith, Frankmusik, Little Boots, Ellie Goulding etc.

So - let's not all be too negative. I hear many fun, melodic and inventive Scottish bands appearing. Let England have its tinny third-generation electropop poseurs...

17 November 2009 11:15  

Post a Comment

If you do not have a Google account, you can post a message using the anonymous button

<< Home