Scottish Gaelic

A Look into the Future, A Nod into the Past (Including two Interviews)

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Celtic music…what do you think will happen and how social networking can influence your ways of getting heard.

Featuring: interviews with Enda Seery and Calum Stewart. Featured performances: Enda Seery, Calum STEWART & Heikki BOURGAULT, bands and a documentary.

As 2012 draws to a close, 2013 promises to be more exciting with the arrival of new albums. There are new bands out there who will probably reach our awareness next year. But these young people are fierce. They are armed with both the musical knowledge and tech savvy necessary in getting their music heard.

With technology  you have the power to make anything possible. But one must be aware that competition is all around. This is due to the sheer volume of music being released day after day. You  have to work twice as hard than before. There are musicians who became  friends and I  found that without being ‘involved’ socially then nothing can really come out of one’s effort.

Whither we like it or not, music is a social activity. You don’t write music for your own personal enjoyment. Whoever argues with this please raise your hand. Because I don’t believe in such a thing. Artists write music to be heard. If you think otherwise then you have to ask yourself if you are in the right business. With that said let me get into the main course which is of course music.

Enda Seery and A New Album Next Year

Enda Seery is working on a second album which will be released next year. I am looking forward to it because I love the way he plays. He has that style of playing that is hard to find these days. I’ve had many pleasures interviewing and featuring his works. Right now, he is busy doing interactive teaching. He is also working on other projects. His cousin Colin Nea also  released and album this year and he is  supporting the album.  I got questions about his new album. He answers them as best as he can. But before that, take a listen to this track!

An Luradán/Santa Cruz/Only for Barney (Jigs)
Final Performance for Masters in Traditional Irish Music Performance
Enda Seery-Sindt D whistle
Tom Delany-guitar
An Luradán composed by Junior Crehan
Santa Cruz composed by Enda Seery
Only for Barney composed by Josephine Keegan
Recorded live at Theatre at The Irish World Academy of Music and Dance, University of Limerick, September 11th 2012
Recording Engineer: Niall Keegan

Here is another version of the track above without the talking in the intro. For those who just like the music.  In my case I like them all. Just saying 😉

Enda Seery talks about the upcoming album

How’s the second album doing?

Second album is coming along quite well. This is a big release for me with two years and a bit since The Winding Clock release and music being more or less my career now. Recording is finished. At the mixing and editing stage now and all the other details that come with releasing an album. Check out my blogs on tradconnect. Oh by the way, the album will be called ‘Síocháin na Tuaithe’ (Peace of the Countryside)!

You will be doing vocals in two of these tracks. This will be the first time I will hear you sing. Were you nervous?

Not that nervous to be honest but I suppose a little. I have been singing a while since being in my family’s céilí and pub band we had many years ago. I enjoyed recording the vocals in studio but singing live will be a different matter altogether! I spend so much time composing and researching other instrumental and dance tunes that I forget about looking for songs so this will have to change.

 What can we expect on the second album?

Well more of my compositions will be included. Nearly 10 in total between jigs, reels, hornpipes and slow pieces. A good bit of material and new tunes was got from my time on the Masters in Trad Performance course at University of Limerick. I had an absolutely brilliant year there. Also some duet and trio tracks will be on the new album with some great musicians I met in Limerick. I have expanded the repertoire on this album too as to not focus entirely on jigs and reels. I suppose the big change will be the songs and also the flute tracks along with my regular whistle playing tracks.

Ahoy! can’t wait to get my hands on that new album next year!

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Calum STEWART & Heikki BOURGAULT – “L’heure avant l’Aube”

I had a pleasure putting Calum Stewart as part of my featured artist of the week. It is also amazing to see his project with Breton artist Heikki Bourgault take off. Calum drops by for a little chat about the video. Cool guy. But before reading that, check this video out.

Published on Dec 18, 2012

“L’heure avant l’Aube”

trad / Calum Stewart – arrangements Calum Stewart & Heikki Bourgault

http://www.calumheikki.com

Calum talks about the video:

Can you tell us the whole experience making this video?

We recorded this video in an amazing venue, called Amzer Nevez: Near Lorient, in Brittany. It’s a venue strongly associated with Breton music, and the promotion of the Breton language, dance and song.

Can you give us a little background about this track?

The track is a set of 2 reels. The first I picked up while in Belfast, Ireland. It’s normally played a little more layed back than the way we do it: but we like this groove with the 2nd reel. The 2nd was written at 4.30am during the amazing Shetland Folk Festival: “L’heure avant l’haube” (The hour before dawn)!

What’s upcoming for Calum STEWART & Heikki BOURGAULT this 2013?

2012 has been a really busy year for the duo, and we’ll keep things moving in 2013. We are working on an album release for late 2013, which features a new repertoire. It’s always great to move onto new ground and keep things fresh!

Hmm late 2013 seems like a long time when you think about the sheer artistry of these two! But yes let us enjoy the current repertoire and let the music enrich our souls.

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Featured trad video:The Steeple Session withConal Ó Grada, Dave Sheridan, Benny McCarthy and Colm Murphy

A nod to the past:

These songs appeared in my facebook status after fever hit me. I was getting all nostalgic and these bands and artists popped in my head . I realized that they are like anchor to the new bands I feature week after week and it is always great to look back and realize how music has evolved through the years.

Originating from Argyll, a region of western Scotland it’s Capercaillie with Waiting For The Wheel To Turn from LP Delirium (1991)
Karen Matheson — Vocals
Charlie McKerron — Fiddle
Manus Lunny — Bouzouki, guitar
Michael McGoldrick — Flute, whistle, Uilleann pipes
Donald Shaw — Keyboards, accordion
Ewen Vernal — Bass
Che Beresford — Drums
David “Chimp” Robertson — Percussion

“Coisich, A Rùin (Come On, My Love)”actually made it to the UK top 40 …lyrics in Scottish Gaelic (Gàidhlig)

I still listen to ” Hi How Are You Today” by Cape Breton artist Ashley MacIsaac.In this track he is joined by Mary Jane Lammond singing in Cape Breton Gaelic. One of the reasons why I want to see the East Coast of Canada one day.

From Brittany…beautiful place fin the North west of France ..The father of Celtic harp music Alan Stivell.

Also from Brittany Cecile Corbel. At 18, she went to Paris to study archeology, still dreaming of music. Concert after concert in Parisian pubs and cafes, she self-produced her album Songbook 1, soon noticed by the label Keltia Musique (Sinead O’Connor, Loreena McKennit).

From Manitoba Canada, Loreena McKennitt studied to be a veterinarian but Celtic music took her away.

And…last Clannad and Bono of U2: From the album Macalla which is Irish Gaelic for Echo. I think this is really cool in a sense that it’s the first time fans of New Wave music and Irish music got together in the mid 80s to cheer for this amazing song.

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Irish Folk Music Revival – Documentary (90mins)

I took down notes while watching this documentary. For those who think it is long, I list down the names of speakers and artists who appeared in chronological order…These  are very familiar names that are in this documentary:

Ronnie Drew speaks(he appears all over), Bob Geldof(he also appears all throughout) the voice of Eamon Devalera, writer John Waters, Martin Hayes (also appearing many times),Paddy Moloney,….. watch the part around 7:15 ,Willie Clancy,Anne Briggs,Johnny Moynihan,Philip Chevron of the Pogues,Teada,Eamon Carr of Horslips,
writers:Brendan Behan appears with Patrick Kavanaghand Flann O’Brien, Paddy Glackin,The Clancy Brothers and Tommy Makem…

Sean Limmas, writer Joe Kennedy, The Dubliners, Christy Moore,Pecker Dunne,Sean O’Riada who added the orchestral movement to trad music in the mid 60s…
Johnny Moynihan, Donal Lunny and around 1968, the Troubles.
Terry Woods ofSweeney’s Men,Andy Irvine..this is the period when the bouzouki was introduced in Irish music….
Planxty, journalist Peter Lennon, ..the 70s was sweeped by the Planxty phenomenon, then Horslips happened in the mid 70s, Thin Lizzy followed, Then The Chieftains, Clannad, DeDannan and the rest…The Bothy Band took where Planxty left off, Paddy Glackin..
The 80s where irish music became prominent brought by the popularity The Boomtown Rats, U2 etc.
The Pogues, Neil Hannon of The Devine Comedy comments,the difference being London Irish and Irish Irish, Kristy Mccoll,
Then..the birth of Celtic Music spearheaded by Clannad through the evolution of their sound in the mid 80s…oh goosebumps!Maire Brennan appears in a clip. Also the lil bit about the Brennans.

Then came the 90s happened with sound clip from Sinead O’Connor,Mary Black, The Sharron Shannon Band,the rise of Irish women!

In the 2000s with Michael Flatley, Riverdance, Damien Dempsey the documentary closes with Martin Hayes and Dennis Cahill playing a tune.

http://youtu.be/39D0J8SzQMA

I hope you enjoyed this post as I did writing it..even during my fever. I am working on another interview article and more music.

Fraser Fifield: Relationship of sounds and styles(Interview)

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Also in this edition: Colin Nea, Therese Honey and Enda Seery

Fraser Fifield: Pic by Barryjohn Bj Stewart

Plays: saxophone/whistle/kaval/bagpipes/percussion/composition

From: Edinburgh, United Kingdom.

About: musician, composer and producer.

With the excitement of an upcoming album, Fraser Fifield talks to The Celtic Music Fan about music and what makes collaborative musical work interesting.

This week’s special attention is given to Scottish musician, composer and producer Fraser Fifield.  I was captivated the first time I listened to one of his tracks. There’s sensitivity, intricacy and a sense of underlying elegance in his musical voice. I think I read and heard his music a couple of years ago, way before I even started writing about Celtic musicians. It is only now that I got an opportunity to communicate with him directly for this edition.

He plays the traditional instruments in a way a Jazz musician would, and then reverse the process with the Traditional instruments. It is like what happens when you put different people in different attires and situations and see how they react or how they look in that environment. This is what he did with music and instruments. I think his striking importance is being able to walk between different worlds and still maintaining the authenticity of his artistry in playing. This edition is about relationships: between different types of music, musicians and instruments.

I think you will enjoy how this interview turned out. I had fun making this one.

What’s keeping you busy these days Fraser?

What’s going with me? Well, the main thing just now is having eventually started recording an album with Graeme Stephen, guitarist and long term colleague – just duo, focusing on live performances basically – meaning played live together, not actual concert recordings..lots of electronics too but hardware boxes used in live performance on the whole as opposed to studio laboratory type of process – which is cool, but not what we’re doing here.

So we started that last week…and will be ongoing as time permits over the next wee while. Just had a flurry of CDs through the door as other projects I’ve recorded on came to fruition – Maeve Mackinnon, Sophie Ramsay and Wingin It…maybe you’ll hear some of these soon

Looking forward to playing London jazz festival with the Take 5 Europe ensemble plus a couple of gigs in Poland one with Maciej Obara 4tet and Take 5 again. Playing duo with Graeme in St Andrews Scotland in a couple of weeks…

Doing a recording session for Angus Lyon this week and hooking up for a small gig with an old friend – wonderful clarinet /sax player Dick Lee..

With John Surman and Tom Arthurs last week on Take 5 Europe. By Emile Holba

 What can listeners expect from this new album in terms of style and sound?

I’m hoping folk will hear two musicians enjoying playing together who’ve built up strong dialogue between them (we’ve been playing together some 16 yrs I think). A general rule seems to be emerging – remember we’ve just started – to avoid layering performances/multitracking ourselves i.e. you’re essentially going hear two musicians playing live together, there’s no click track etc… that’s not too say sonically the record will be simple – early results suggest anything but…this is often just low whistle and guitar but like you’ve never heard.

A bold statement perhaps..but I’m being fairy serious… The live recordings on the soundcloud page hint at the sound of course, but I am enjoying working a little more on our recordings after the initial performance, resampling ourselves in a way, extracting small bits of audio and changing it’s function…I’ll say that much. Will it sound folk or jazz – I’m bound to be asked that… and the answer is I have absolutely no idea..a bit of both, or plenty of both actually. The compositions are mine but compared to my previous records I’d say improvised passages will turn out be more featured.

I think making music is also a relationship between you, your fellow musicians and your fans. What have you learned so far in maintaining this relationship since you started? What are the things you avoid now and what are the things you consider essential?

….Essential in regard to making music with other musicians, for me, is a sense of openness, trust and maybe some kind of mutual understanding of what it is we’re doing, not necessarily verbalized but that the feeling of all being well is present…all makes for a good starting point, at least musically; you could be having the worst week imaginable, but sometimes these things can twist around into good musical moments. Sometimes, hopefully not often, one can’t get into the right vibe to make music creatively for whatever reason, cat gone missing, who knows, but assuming all is fine there should be something you can switch on to be excited about what you’re doing, if you’re not already. Basically it helps to be in good mood is what I’m saying I suppose.

Musical situations I try to avoid are those where none of the elements to my previous answer are present. Also I’ve not been drawn into a ‘band’ situation for a wee while now, which is maybe down to my personality, I don’t know..I kind of miss it in a way, the band thing, but at the same time value the diversity of music I’m currently able to fit on my modestly sized internal drive.

Be nice to audience members if they’re being nice to you…i.e. paying to hear you play….would be a good general rule…

Try and have a relationship with the people that enjoy your music, if you want to that is…unless you have some Garbarek like qualities, and I try to mean that in a nice way, it’s a probably good idea business wise to interact a bit.. which I guess is what I’m doing right now..but I’m sort of enjoying the therapy of answering your questions. How’s this piece shaping up now by the way ?

Oh this is shaping my work nicely!

If you evaluate all the tracks you composed throughout your career, which one has an impact to you in terms of the manner it was composed and the inspiration behind it?

I’ve chosen the track called Psalm from my first solo album Honest Water as it’s perhaps the tune or idea which has had the longest and most interesting journey with me to date. The first idea was to try and imitate the sound of psalm singing from the Scottish Gaelic tradition – a most beautiful and peculiar art form in itself. My approach is a very simple one and one that has worked for me in many situations over the years, the more instruments playing together the better the effect, so great if working with groups of students of varying levels of ability for example.

Most recently I used this idea in the opening section of my piece ‘Playground Tales’ written for the group Mr McFalls Chamber with guests Corrina Hewat, James Ross, Aidan O’Rourke and myself – hopefully a recording next year. So the track Psalm from Honest Water began life as one of five parts of a suite for saxophone quintet titled Traditions – one of the first years of the ‘New Voices’ series of commissions made annually by Celtic Connections, and it’s still running – quite a body of work in there now. My turn was 2001, a long time back now!

I’ve never played the tune much on my own gigs for some reason, actually probably no reason, but have used it often in a variety of other settings, I recall…a group of 7 different European bagpipes at Rudolstadt Festival Germany, recently with Dutch trio the Nordanians, with the Take 5 Europe group this year, it’s served me pretty well, and I think it’s a nice melody.

With Corrina Hewat

If you have the time, the energy and the means to be an album producer, whom would you work with and what types of musicians would you help in producing records?

Well I’m doing that very thing right now in a kind of self-medicating manner along with Graeme Stephen in the making of a duo album together which is actually a bit overdue I feel, but at last is progressing nicely. I’ve always enjoyed being very hands on with every aspect of my own record making, from the engineering through arrangements, performance to mixing. I like having the freedom to work at my own pace with things and review/adjust at will…does end up taking forever sometimes though…and that’s not so cool always.

With other artists I’ve occasionally become involved in the role of producer or perhaps co-producer in some instances – for example where a group has developed a sound collaboratively and go on to then record. I’ve never been great at adopting a workmanlike attitude when it comes to making records. I think its quite a big deal. An example I can think of is with my friend Mick West, a traditional singer from Glasgow whom I first met whilst a student there. I’d played with him in various line-ups of the Mick West Band ever since, so when the chance to make his last album ‘Sark O Snaw’ came round I really wanted to do it, not least because having played with Mick for many’s the year he’d never properly captured the best of his music on record – I wanted to change that, and I think we did, to cut a long story short. It was a labour of love like most records I’ve worked on, probably ending up with a negative hourly rate or something close it, who cares, it’s a lovely document to have.

In terms of who to work with…if they can play well with heart and soul and give and take, and we can get along well, that’s the only ingredients required. I’m pretty happy doing a lot of the work I do for those very reasons.

Take 5 is an ongoing project you are involved with. Can you tell us a little bit about it and how’s it going so far?

It’s been a very nice experience. Firstly Take 5 then this year Take 5 Europe which is new extension of it. It’s about artist development essentially, through talks/discussions/networking (that mostly over one week) and making music with the other Take 5 participants you’re given tools or ideas at least aimed at perhaps focusing one’s career, taking a look over what you’re doing and what you might be doing…it’s positive certainly if anything at all.

This year the ensemble of musicians on Take 5 Europe proved to be a surprisingly cohesive group – not a typical line-up – 2 basses, vibes, drums, guitar, trumpet, 2 saxes + me. They’re a very nice bunch of people and amazing players, in late 20s or 30s – 2 each from Netherlands, France, Poland, Norway and the UK. We’ve been playing at the festivals run by partners of the scheme in Molde, Rotterdam, Coutance, with just 2 performances left to do in November in Poland and London. Playing and hanging out with John Surman on both these Take 5 weeks was certainly noteworthy, great musician and lovely chap.

I know you have played the bagpipes for a long time. But if you were a listener, what makes a bagpipe and amazing instrument?

There’s something primal going on with it that’s for sure. I can’t get into any physics that’s for sure too…I can but agree there is something about the sound that speaks to an enormous variety of people from every part of the world. Being very loud (if we’re talking the GBH here) is surely a bonus.

-Fraser

http://www.fraserfifield.com/

There you have it folks. Be sure to keep track of  his schedules and keep him on your radars. The new projects sound amazing!

Fraser Fifield

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Pic of the day: Colin Nea-Between the Jigs and Reels

COLIN NEA will be launching his CD ‘Between the Jigs and the Reels’ at 9pm, Thursday the 8th November in the Temple Gate Hotel

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Enda Seery: Website updated and revamped!

The musician/composer of The Winding Clock has introduced a new feel and look to his official website. Visit : http://www.endaseery.com/

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Featured Video: Therese Honey: Paddy Cronin’s Jig – Jenny Pippin from ‘Summer’s End’

Yes yes! We have a new addition to our list of harpists to watch out for. Therese Honey creates a relaxing wall of strings with with the talent of Jenny Pippin. Have a listen 😀

Track 2 from the 2012 http://www.Waterbug.com release, Summer’s End. Photos of the Dingle Peninsula were taken in April 2011 by Therese Honey and Larry Mallette. Therese learned Paddy Cronin’s Jig from Gráinne Hambly. Jenny Pippin is from O’Neill’s “Music of Ireland,” 1903.
www.theresehoney.net

Cormac Breatnach with ‘Ceird An Cheoil’

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The low whistle introduced me to the world of Celtic music.

Two instruments that introduced me to Celtic music : Low whistle and uilleann pipes. After that phase everything started happening and now I am here! Every now and then, I get recommendations from friends who are professional recording artists. They would tip me saying ‘ hey this is cool, listen to this track/video”.  Just to give you an idea that I am not the only one looking for something interesting out there.

Yesterday I had a great conversation with Jeff Ksiazek of áthas about doing an interview for this site. I thank my friend, the harpist/singer  Scott Hoye for the opportunity of not just meeting some of his friends but also for this amazing video.

Cormac Breatnach is an amazing low whistle player isn’t he? Hearing him speak in musical Gaelic made me regret about my slow progress with the language. Like I said low whistle is one of the instruments that introduced me to Celtic music. Listening to this track has its rewarding moments in term of nostalgia and the enjoyment of seeing someone play with such passion.

More about Cormac Breatnach here: http://www.cormacbreatnach.com/

Fiona J Mackenzie and The Kilmarnock Edition (Interview)

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Generally we have an idea in our heads of what sort of ‘feel’ we can imagine for a song but sometimes it ends up being totally different to the first template! For instance, in ‘Gazz’,  that developed from Roberto playing a riff on the upright bass then each of us just joining in with some little snippet, then I threw in some odd Gaelic words which then developed themselves into a wee new genre- Gazz- Gaelic Jazz! It’s great fun as well as being completely inspirational, working with the others.
 
 

http://www.kilmarnockedition.com/ 

Gaelic/Traditional Vocalist/Member of The Kilmarnock Edition talks to The Celtic Music Fan about her new exciting musical project.

So excited to feature this band from Scotland. I follow Fiona Mackenzie’s update so that’s how I was able to read about The Kilmarnock Edition. What got to me was their reggae sound on top of the distinctive Scottish trad tune. And yes folks ’tis the season to party! I set this interview up to know more:

1. After your last album A Good Suit of Clothes which I enjoyed so much, this is one good news! Your voice is really beautiful. What is the most exciting thing about The Kilmarnock Edition?

The most exciting thing about being part of the KE is the realisation that we are bringing a new style of Scottish music to the public ear.  We are all well known in our own individual genres but as we work together, we are creating something that I think is very special and that wont be found anywhere else on the Scottish music scene. We are thrilled to have the chance to work on establishing what is in effect, a new genre of Scottish music- we are not a folk band, we’re not a classical band, we’re not a rock, jazz or reggae band- but we have  elements of all this within our style-  but it doesn’t emerge as if we are a real ‘hotchpotch’ of sound, the music presents itself as an exciting, hopeful and inspirational style, all  of its own.  

2. The members are high-powered coming from their own bands and projects. Is it a great experience working with the rest of the band?

 It is hugely exciting with the band. We all manage to get along together very well socially as well as professionally and we have formed  very strong personal bonds, as well as various other duo/trio partnerships for other gigs. Everyone is very generous with their Songwriting and willing to ‘let their songs go’ to others in the band, for vocals, instrumentation etc  if  they feel that is what the song needs. When we get together for writing/rehearsals we are always very excited to see what the latest sounds will emerge- we never quite know what’s going to happen, but we do know when its right! We are very lucky to have such a diverse range of talents within the group, both musically and in writing. Roberto for instance, is hugely talented at writing funny, observational but very incisive songs about normal day to day life, which are really brought to life in his own Italian accent and style. Lisa writes beautiful songs about the world today, political/socio-economic environments as well as taking history as inspiration for example.  Yvonne writes truly stunning lyrics of life and love and gives us the gift of her beautiful keyboard skills. Alex writes wonderful songs which are easy for audiences to pick up as well as the most tender of love songs.  I write contemporary songs incorporating Scottish Gaelic with English and the Scots tongue-  on contemporary subjects such as technology and ‘empty nest syndrome’!  It gives me the chance to experiment with new ways of making Gaelic accessible to a wider audience. And Stu, our cajon player  and percussionist  gives us that fantastic extra brilliance of beat for whatever the style and tempo.

3. What can we expect from this project musically?

Musically we want to show an audience that Scottish music does not have to be traditional to be representative of our language and culture. That is is possible, in the hands of good musicians and writers, to take elements from all aspects of the Scottish musical spectrum and blend them into something new, fresh and invigorating, a new face of Scottish music. All members of the band are well established and well respected in their solo careers and we only perform to the highest professional standards. We are all passionate about what we do and we believe that is evident in our performance.  

4.Is there an album coming out soon?

We will be going to Watercolour Studio on the lovely Ardgour peninsula at the end of April to record our debut album “Pay it Forward” and we are hugely excited by the prospect of working very very hard at producing what we hope will  be a truly special and indigenous album.  We are totally delighted and honoured that the album will be released on the Greentrax label and we are very grateful to Ian Green to having faith in us to produce an album for his catalogue. He has been following us since our first rehearsals and says that he did indeed spy something unique about us right from the beginning. We take our title from the fact that , having been lucky in being given support from various people over the last 2 years, we now want to ‘pay a little forward’ and do something for other people or groups in the Community. To date , we’ve done some local charity gigs to raise money for the new Church roof in Prestonpans, where  Alex comes from.. The album will be out during the Summer.  

5. I heard a few sample tracks and I understand what makes the band exciting. The tracks are really groovy and good enough for dancing. I am sure fans of Reggae, Traditional music as well as Jazz will love the music. Who lays down the musical ideas for the tracks?

 All the ideas for the tracks come from ourselves. We bring an idea to the group then just jam for a while until something gels then we work on that basic idea.  Its often easier working with others than on your own as you can bat ideas around and someone will play a wee riff or sing a ‘doo wop’ that sparks something interesting and unusual.  Generally we have an idea in our heads of what sort of ‘feel’ we can imagine for a song but sometimes it ends up being totally different to the first template! For instance, in ‘Gazz’,  that developed from Roberto playing a riff on the upright bass then each of us just joining in with some little snippet, then I threw in some odd Gaelic words which then developed themselves into a wee new genre- Gazz- Gaelic Jazz! Its great fun as well as being completely inspirational, working with the others. We’re all so thankful that we met in the Burnsong House in 2009- Kilmarnock Edition has given all of our musical careers a totally new direction and hopefully it will take us to all parts of Scotland, the Uk and to further afield too- we really do believe that overseas markets will find out new style of Scottish music, appealing whilst still drawing on our traditions and respecting where we come from.          

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