How does Scotland sound?

By Ewen Hose

Scotland is a country that has a surprisingly diverse array of musical talent for a country of its size. It generally lacks the powerhouses of Wales, such as your common-garden Manics and Stereophonics, instead birthing bands with smaller but equally passionate fanbases.

On the indie-shaped side of things you have bands such as the dulcet Camera Obscura, post-rock legends Mogwai, the heavier angst drive of Biffy Clyro and Idlewild and twee darlings Belle and Sebastian (themselves one of the few big bands to play my hometown of Dunoon, along with Blur and Ocean Colour Scene).

Biffy Clyro is something of a cult favourite among peers back home, hailing from the small town of Kilmarnock, and responsible for the acclaimed Infinity Land that marks the highpoint of their punk revivalism. Our more popular exports include Glasgow’s Travis and The Proclaimers (all MOR anthemics and Hogmanay floor-fillers) as well as the quiet-of-late Franz Ferdinand, whose atmospheric rise during the early Noughties indie explosion saw a surge in silly German U-boat commander haircuts and tight trouserdom.

A personal favourite is the sadly-defunct Edinburgh-based Beta Band, who apparently thrived on the quest for quirk (synchronised drumming, Beta Band raps, outrageous brass sections and electro blips and beeps).

Their final album Zeroes to Heroes is the most grandiose example of this eclectic style. In a fair world, they could have been the country’s answer to Blur. Going further back, there’s other luminaries such as the anarchic bark of 70s loonies the Sensational Alex Harvey Band and the dark atmospherics of the Jesus and Mary Chain (featuring future Primal Scream frontman Bobby Gillespie), whose biting debut Psychocandy remains a post-punk pinnacle. And 80s teen favourites Simple Minds.

All in all, Scotland may lack a Beatles or a Rolling Stones, but we did push out Lulu and Eurythmics so up yersel’, big yin.