With the advent of the new year, once again everybody and their neighbour is jumping to make predictions as to who and what is going to be big in music this year. The BBC has released it’s ‘Sound of 2009’ list, a format it began back in 2002. Though the nonsense actually featured on the list is far from meriting mention, the rhetoric surrounding the predictions shines a light on the now-haggard mainstream cultural movement of this century. Apparently 2009 is to see the return of 80s-style electro-pop, tipping the guitar bands in the battle for the limelight. Though this perceived movement and dynamism within the music industry may well help people to get excited about the emergence of new acts, in taking this line it appears the mainstream media has run out of ideas. The rebirth of electro-pop seems to have been punted repeatedly for at least two or three years now. Sorry Beeb, but we’ve heard it all before. Simply sighting acts which had a successful 2008 and are not electro-pop is not enough to portray this years money-spinners as having come out of nowhere with a ‘wacky’ retro concept. This wave of acts is supposedly taking its cue from the legacy of Madonna, Kate Bush, Prince and David Bowie, a selection of performers with one important thing in common: groundbreaking originality. Sadly this seems notably absent from the majority of acts the BBC has backed, with the bad smell of production-line music wafting from the direction of the major labels. Hopefully the public will eventually get fed up with being fed these false trends and seek out the genuine wealth of great stuff out there to be found.
On a more positive note, the Glasgow scene is looking healthier than ever. Aside from the promise presented by the bands we’ve featured as looking set for big things, the ever-increasing total of small venues and independent labels is cementing Glasgow’s underground scene as the finest in Britain. As the clubs wake up again from the post-festive lull, the Hogmanay hangover is going to be short-lived with the end of this month seeing the full-blooded raving start all over again. 2009 even messier than 2008? Almost certainly. In terms of Traditional and World music the year is kicked off beautifully by Celtic Connections festival this month, perfectly setting the tone for another fine and diverse year of music in Glasgow. The continued support of live music at all levels in this city is what sets is apart and long may it continue.

The almighty mess the music industry is in is nothing if not well publicised. The enormous growth in the use of new alternative methods of acquiring and experiencing music over the internet has punched a big hole right in the middle of the business. There is quite simply just not enough demand for the tangible product anymore, with the previously fetishised mediums of vinyl and CD on a rapid decline. The public don’t care enough about owning the ‘real thing’, now that the raw files can be bought cheaply or shared for free.

What does this all mean for the hordes of young talented bands and musicians desperate for success?

Every major city, including Glasgow, now has a pretty large roster of small independent record labels vying for the attention of the wider public or battling over localised niche markets. As a result, many bands are able to ‘get signed’ to one of these small labels, fulfilling a massive childhood dream. But is this really the step towards success that we imagine anymore? Though many independent labels have provided important stepping stones for upcoming acts, the harsh reality is that a lack of funding and PR can often mean no real progress ever materialises. Too many quality bands find themselves being told that their single or album will be appearing ‘soon’ – industry code for ‘we’re skint’.

The real problem is the divide between the small independent labels and the level of the major labels. Because of the problems the industry as a whole is experiencing, major labels cannot afford to take any risks with acts, and will only sign anyone they are 100% sure will be a certified money-spinner. Getting to the point of attracting interest from a major label is the mountain that modern acts find themselves having to climb, as independent labels are often incapable of sufficiently helping them up.

For uncompromising musicians, unprepared to simply jump on a fad-fuelled bandwagon, how can real progress be achieved? Though the draw of the statement “we’d like to sign you” is irresistible for many, increasingly doing it yourself seems to be the best option. By taking out the middle-man, many young bands are able to retain complete control of their music (and any money it makes), and are able to devote more time and effort to their cause than an over-stretched independent label ever could. This century is going to see the success of the truly unstoppable enthusiasts and the shameless self-promotors. Game on.

Andy Carthy (aka Mr Scruff) is generally recognised as one of the foremost exponents of ‘quirk’ in modern music. Since the release of his first single in the mid-nineties, he has cemented his own reputation as an individual artist, both with his successful recording career and famous DJ sets. Chatting before a Glasgow appearance at the Arches on the back of new album ‘Ninja Tuna’, he confirmed his reputation as a true music purist and a lovely chap. On topics varying from tea and fish to the subtleties of DJ performance, Scruff exuded a genuine charm and a formidable enthusiasm for his work.

Why do you choose to play such longs sets? (six hours)
I’ve done that pretty much every gig for the last ten years now. I like warming up, creating the mood for the evening. I like it to be quite relaxing and mellow, then once you’ve got people comfortable you can do what you want after that.

Is it not difficult to keep it together for so long?
Not really, because, for the first hour you’re just getting in to it – so it’s quite nice, rather than coming on when it’s full-on and trying to get into it straight away. So you have an hour of just warming up and then by the time you’re focussed and know what you’re doing everyone else is ready for a dance.

Just a brief wee note here to say I'm going to be talking to Mr. Scruff tomorrow. I'll stick the results up here as soon as I've got it transcribed. I expect it will be interesting, and if not, there's always the imagination.

No, no, that would be slander.

I could start a fight with him?
Assault.
Kiss him?
Sexual harassment.
Arrive naked?
Probably against the Geneva convention.

Is there any way I can conduct this interview without breaking the law????!!????

We shall see.

In other news, the GZA (aka The Genius, real name Gary) played at the ABC last week. For anyone not in the know, he's one of the original members of the Wu-tang clan, America's finest gang of, well, just gang really. In terms of a gig, it was a complete shower, not even worth mentioning. However, from an aesthetic point there is something bizarrely and deeply pleasing about watching a middle-aged rapper bounce around on stage like a startled sheep. He's really mastered the art of the 'apparently unintentional' spontaneous spring. So, while it wasn't much cop as a night out, it had value in the way a day spent surprising livestock does. Oh, I mean might....

Sure it probably makes Jesus cry every time I salivate for more than just a few seconds over something I can't afford, but I'm not in the habit of fearing the divine retribution of fictional characters. "You'll spend eternity with Darth Vader's lightsaber up your arse my child!"
I doubt it.
So in this frame of mind I found myself yet again in one of Glasgow's most respected guitar shops, viciously punishing my ego with the four-figure price tags. Little did I know I was about to encounter the heart and soul of Glasgow's "crap-rock" scene, that bizarre sub-category of people who look the part, but haven't a clue.
Gibson Guitars have recently released some bizarre and novel versions of their most famous models. Named "Robot" guitars, these axes actually tune themselves by way of little motors in the tuning pegs. In my childish excitement to see this completely unnecessary, and probably doomed development, I made a terrible, terrible mistake. I asked a shop assistant for help.

During the Smashing Pumpkins SECC show last year, notoriously onerous front-man Billy Corgan responded characteristically bluntly to the crowd’s light-hearted boos. Glasgow’s finest had ‘feigned’ offence at the mere mention of England, through a reference to Manchester’s legendary Joy Division. Corgan responded by questioning the proliferation of worthy musical talent hailing from Glasgow, with the exception of The Jesus and Mary Chain.
In the barrage of suggestions that followed, one particular offering from a booming lager-soaked voice to my right struck me as unusual, prompting a quick check on t’interweb the next day. Yes, it was revealed, AC/DC are from Glasgow!