I think I previously mentioned that my favorite Long Fin Killie EP is Buttergut, which I orignally scored on vinyl; lucky for y’all I remembered my cd copy, picked up long ago for the ludicrous price of $1. Their first recording, from 1994, it includes the soon-to-be-on Houdini “Lamberton Lamplighter,” a nice narrative sung by a gay city worker justifying his taste for boys at dusk. It also contains three tracks not found anywhere else, and they’re decent — the stop-start, guitar feast of “Boy Racer” (about that band?) and the propulsive, gothic, violin-rich “Suki,” which contains vocal ideas Luke Sutherland would hone for Houdini. But the elephant in this room sits in the shape of an instrumental track that never appeared anywhere else, and should have, being the only example of breakbeat, ambient bluegrass I can recall. That sounds worse than it is, but then the parts aren’t easily identifiable, but only words I use to describe them.
Also on the Scottish tip, Camera Obscura has be recalling Lloyd Cole, with their tune “Lloyd, I’m Ready To Be Heartbroken” and although I’d be smart to post Commotions-era stuff, I’m not especially close to that, having come to it inexcusably late. Nostalgia value, for me, lies in Cole’s 1990 self-titled solo rekkid. I stole it from the campus radio station and kept it, if only for the later-to-be-used-in Shitspotting track “Downtown,” but more for the first three songs, all gorgeous. And by the way, his band here is drummer Fred Maher and the late Robert Quine, both of Voidoid fame, along with some frikkin’ guy named Matthew Sweet on bass.