As part of our new association with Scruff Of The Neck Records we're pleased to feature them as the subject of our second In Profile piece. Mark Lippmann from the label fielded a few questions from us just before the Xmas holidays.

MG: From the collective’s website blurb the year just finished has clearly been one in which you’ve seen your efforts bear a lot of fruit. How long though has it taken you to get to this point and how did you initially set the enterprise up?

ML: People often ask me about the journey of Scruff Of The Neck so I usually retort with a spiel stating “I’ll summarise the life of Scruff of the Neck in 60 seconds…”, so here it is in written form:

In 2009 during my final year of university I lived above a pub where I worked (The Rampant Lion in Manchester). The building was Grade 2 listed or something (so basically a big gothic type standalone gaff) and as such had loads of character and scope for entertaining. In the pub was a brilliant 6k sound system so I basically asked the owner if I could run a night.

The deal with The Rampant was that he would need to buy us the additional equipment to make this possible, so he bought us a really basic mixing desk. I then got my pal Chris Warr down from his music technology course in Huddersfield to help and we just started running nights; each one was better than the last and he kept paying us with equipment until we built up a pretty decent set up.

We outgrew the pub, bought the 6k rig off them and moved onto bigger venues buzzing about each one developing our model and reputation. We learnt millions of lessons in a short space of time and always made sure we righted any wrongs and acted on feedback as we went. We also kept the re-investment policy for years never taking a penny ourselves.

We launched the label in 2010 with the release of 'Oh Darlin’ by The Quangos. Chris Warr recorded the track in his bedroom, Chris Wrench filmed the video as a favour to me and to help his portfolio (he’s since filmed enormous bands at Wembley). We carried on this model for the years that followed and as such developed the people in the ‘collective’ and invested in more gear so we could really run with the DIY approach. Fast forward to now and we have a studio in Chorlton at The Royal Oak (who have been very good to us) and each person involved has an accomplished trade (Chris in the studio, Paddy in live sound, Ash on lights, Matt Boone video, Myself and Dave Beech working on gigs, bookings and press etc). It’s really smooth now and a great creative network that we feel artists really enjoy being a part of.

In summary, it’s taken us 5/6 years to get where we are but we are still at only a fraction of our full potential so I’m really excited and curious to see where we are in another 5 years! I’m personally driven to improve and change constantly so the sky is the limit as the old cliché goes.

MG: Your releases to date have I think all been singles – will 2016 see you releasing an album or are larger releases not something to which the label’s geared?

ML: We’ve actually released 2 x EPs with Go Native and Delamere in the past couple of years but other than that you are correct, it is mostly singles. In the past we’ve remained quite modest with what we can contribute and our model was more of a leg up for new bands initially, we didn’t want to try and contract them long term as we didn’t want to over promise, we felt one release was a great way to test the working relationship for both parties. In 2016 though this will be different… we are planning at least 2 albums coming out including Delamere's Black & White Space with potentially another one or two amongst other single releases so it should be a huge and exciting year!

MG: The releasing of music is though only one aspect of Scruff Of The Neck as you manage bands and promote shows as well. Are those both recent additions to the work you do or have they always been parts of the whole?

ML: We are actually probably most successful as promoters. In 2015 we ran over 100 shows across multiple UK cities and this will grow massively in 2016. We’ve been building really strong relationships with other local promoters and are also developing our networks with some of the more established parties (festivals, booking agencies, managers and major labels etc.) which has seen us bring some cool new touring acts up to Manchester towards the end of the year. The plan is very much to develop the promotion arm and become recognised national promoters as well as masters of our trade in Manchester.

MG: When taking on the management of an act what qualities are you looking for that individual or band to possess?

ML: I get asked this often and again I’ve coined a bit of a spiel to articulate our beliefs. I believe on a simplistic level there are 3 x traits that make an artist a viable business partner:

1.       Product – they don’t need to be the finished article, far from it, but they need to have the potential to be a fully rounded product. It goes without saying that the music is an integral part of this, but there is so much more that needs to come with it. A lot of artists these days are really creative with their artwork, branding, videos, photos, you name it! We like to encourage artists to flourish with their own creativity so we are looking for bands that know what they are and where they want to go.

2.       Work Ethic – artists need to be willing to get their hands dirty in our opinion. We always work best with the mouldable artists and those with that restless curiosity and hunger. We ourselves are still learning and full of desire so we always find the most invigorating and fruitful partnerships have been with those endless grafters as we bounce off each other down the path!

3.       Nice people – we have to be able to work with the people in the outfit. Working in the music industry is all about the people involved and you have to be passionate about the relationship to be able to make it work. We know that we won’t be everyone’s best friends, but we need to have that click with each other and that trust. The Delamere guys are the best example of this, we have had some ups and downs and arguments but they know who we are and likewise; we have the upmost respect for each other and that’s what gets the results! All the bands we work with regularly are mega people and that’s what keeps us going.

MG: Aside from the initial album release what do you see the year ahead as holding for Scruff Of The Neck?

ML: 2016 is going to be an incredible journey. All the people in our internal network will be developed, up-skilled, challenged, promoted and driven to be the best they can be (and enjoy the process!). My main aim is to have an unrivalled team of colleagues and freelancers that can take the enterprise forward for years to come. The same notion applies to our roster and network of artists; there is so much potential, talent and amazing people we want to work with and promote throughout the year.

The venues will be bigger, the tours will stretch further, the releases will be pushed harder, the networks will expand immensely and our drive will become more and more relentless. We are in it for the long haul and our number one goal still remains to have a key role in breaking bands as ultimately our worth will be defined by our role in the development of bands and people.

As the ancient proverb goes…the proof is in the pudding.

Many thanks to Mark for taking the time to feedback to us. We look forward to doing our bit to ensure the desired progression is achieved in 2016. The company are always keen to hear from bands/artists interested in working with them so you can reach out to Mark & the team here. 

Scruff Of The Neck Links:-

Website:                www.scruffoftheneckrecords.com

Facebook:             www.facebook.com/SOTNRecords

YouTube:               www.youtube.com/SOTNRecords

Twitter:                   @SOTNRecords

Instagram:             @SOTNRecords

 

 

 

 

Although frozen in the '90s performance-wise and musically, I don’t really care, like many there, I went for the nostalgia and the music we loved back in the day and that’s what we got.

An extra Leeds date has been added tonight so there's still a chance to see the show. Details here. Further images from Wrexham can be found here.

Personally, I think 2015 has been a great year for music. I've seen some awesome bands, and listened to some fabulous records.

Strangely, this year has also seen my transition from a writer to managing editor. It wasn't at all expected on my part, and I'm very grateful to Kenny McMurtrie and Joe Watson for their faith in my abilities. As with 2015, I'll still be writing, and look forward to hearing more music, both old and new. If you’re a band or label of the garage persuasion, and would like me to review your show / new releases then please drop me a line via the page or This email address is being protected from spambots. You need JavaScript enabled to view it.

One of my favourite live shows this year has to be The Missing Souls at the Cosmic Trip Festival back in May. The Cosmic Trip, on the whole, was a very big disappointment. Not really the fault of the bands (although I still can't understand some of the choices of bands playing e.g. The Warlocks) but more to do with the sound / venue. The main stage was just too big, and the presence of any band playing there disappeared into the ether. Luckily The Missing Souls managed to avoid this by playing a pre-festival gig at a small bistro in Bourges town centre. I was knocked off my feet by their enthusiasm and most excellent choice of covers. They have since released their first single, a cover of 'You Just Gotta Know My Mind', and it looks like they have another 7" in the pipeline for early 2016 so very much to look forward to from their camp.

My favourite weekender this year was without a doubt the inaugural Franklin Fest in Edinburgh, which took place in June. Three days of the best rock 'n' roll on offer from bands as far flung as the the Medway! I was astounded by the performance of The Baron Four, who were just sheer brilliance in terms of energy and authenticity, not forgetting musicality (you can read about that show here), as well as the appearance of old favourites The Masonics with special guest Ludella Black, The Wildebeests and The Thanes. Also, it was really good to see the promoters showcase some of the lesser known bands on the opening night, such as The Phlegm. I'm really excited about Franklin Fest 2016, and cannot wait for the line-up to be announced.    

The Franklin has been a constant this year in terms of the quality of bands playing, and the enjoyability of the shows. For a tiny wee shack in the middle of a field, it has something really special. Yes, I know - I've said it all before! More recently they've hosted bands from further afield such as red hot property Les Grys Grys from France, who gave a performance of monumental proportions (see here for more), and the fabulous Oh! Gunquit from down south (review here). Furthermore, it's one of the only places where you can guarantee that the support bands are likely to be just as good as the main act, notable supports this year having been Geek Maggot Bingo, The Brutes, The Black Needles and The No-Things.

All day spectacular Buckfest which took place in Glasgow, is also worth a mention. With many thanks to organiser Alan Gemmel for chatting with Musoss. We saw sterling performances from such bands as The Kosher Pickles and The Bucky Rage (review here). A thoroughly enjoyable day of weird and wonderful rock and roll. Again, I'm looking forward to the same in 2016.       

As for LP's, The Arrogants - No Time To Wait, did it for me. However, The debut LP's from The Baron Four and Oh! Gunquit are very close behind. 

Next year I'm hoping to provide coverage from the Green Fuzz festival in Spain in April, and of course the Franklin Fest in June. 

Finally a huge thanks to all the bands / labels / promoters who've been so co-operative this year - it's truly been a pleasure to make your acquaintance. So please, put on your old-school 3D glasses, and watch this space.

A couple more hairs have turned grey narrowing this down, but here are my top 10 albums of the year. Give them a listen, if you haven’t already.

10. EL VY – Return To The Moon

Pronounced like the plural of Elvis, El Vy is a side project for The National’s Matt Berninger and Ramona Falls’ Brent Knopf. The result of a long friendship, and years of music being sent to-and-fro, Return To The Moon certainly sounds like a side-project in the fluctuation of styles. That being said, Knopf’s production and varied instrumentals give a surprisingly different slant to the scornful wit of Berninger, which the album packs in abundance. Return To The Moon doesn’t scratch the surface of The National’s back catalogue, but few records do. What it does do, is deliver some great tunes.

3 tracks you have to hear:

‘Return To the Moon’, ‘I’m The Man To Be’, ‘Need A Friend’

 9. Waxahatchee – Ivy Tripp

In early 2015 Waxahatchee, A.K.A the effortlessly cool Katie Crutchfield, released her third solo record, Ivy Tripp.

The intimacy of her earlier releases is still there, but the whole package is much bigger. Her backing band continues to grow from 2013’s Cerulean Salt and Crutchfield’s southern voice, sounding as rough as it does soft, only continues to improve. Sure, the angst is still there, but this is a songwriter confident that she is mastering her craft.

3 tracks you have to hear:

‘Under A Rock’, ‘La Loose’, ‘Air’

8. Ought – Sun Coming Down

Montreal’s Ought released Sun Coming Down in September 2015. The album has a DIY college-party feel to it, but the mechanical tones of vocalist Tim Darcy give the sound mesmerising gravitas. He sounds like an old wireless news presenter at the end of his tether as he rants over the band’s hostile tunes.

Reading like a shopping list, the standout track is ‘Beautiful Blue Sky’, in which Darcy expertly tackles the tedium of small-talk. He builds into a frenzy repeating, “How’s the family? How’s your health been? Fancy seeing you here! Beautiful weather today, beautiful weather today, beautiful weather today!”

He concludes over a simple drum beat, “I’m no longer afraid to die, because that is all I have left. YES.” Based on this record though, it’s safe to assume he has much more left to come.

3 tracks you have to hear:

‘Beautiful Blue Sky’, ‘Men For Miles’, ‘Passionate Turn’

 7. The Districts – A Flourish And A Spoil

Indie-Americana outfit The Districts released A Flourish And A Spoil in early 2015. Tinged with blues and the scrappiness of youth, the album is a superb follow up to 2013’s self-released Telephone. Opening track ‘4th And Roebling’ is a remarkably catchy song, achieving that oft-sought after haven of being both a sing-along and utterly chaotic. The rest of the album has ramshackle highs and a couple of uncertain lows. Given their teenage years, the potential is there, and The Districts are certainly a band to watch.

3 tracks you have to hear:

‘4th And Roebling’, ‘Peaches’, ‘Suburban Smell’

6. Unknown Mortal Orchestra – Multi-Love

Almost certainly the year’s funkiest release, psych-experimentalists Unknown Mortal Orchestra released Multi-Love. The album explores Ruban Neilson’s polyamorous relationship and as fans of the Kiwi have come to expect, it remains absolutely gripping throughout. The guitars are soulful and groovy, though often fully absorbed by the highly polished synths; but flashes of drum and trumpet solos – played by Neilson’s brother and father respectively – adds another dimension.

Many, many more people will be growing to love Ruban Neilson, following these catchy hooks.

3 tracks you have to hear:

‘Multi-Love’, ‘Can’t Keep Checking My Phone’, ‘The World Is Crowded’

 5. Kurt Vile – B’lieve I’m Goin' Down

Released in September, B’lieve I’m Goin' Down is Kurt Vile’s most articulate album to date. Though it’s styled with the same endearingly hazy Americana, the record has a softer touch and a greater depth to previous releases. Spearheaded by the massively catchy ‘Pretty Pimpin‘ and closing with the tender ‘Wild Imagination’, the record is a magnificent collection of songs.  It’s less psychedelic than Wakin’ On A Pretty Daze, and with introspective lyrics backed by a picked-upon acoustic guitar; the record has a much more melancholic finish. Proving himself to be a prolific songwriter, you can expect to see Vile on next year’s list too.

3 tracks you have to hear:

‘Pretty Pimpin’, ‘Wild Imagination’, ‘That’s life, Tho (Almost Hate To Say)’

4. Leon Bridges – Coming Home 

Grammy nominated Leon Bridges released his debut album in June 2015. A soul artist in the vein of Sam Cooke and Otis Redding, the record is wonderfully nostalgic and packed with stunning Sunday afternoon soul.

For fans of classic R&B, the record is bursting with gospel singers, horn arrangements, organs and even a few doo-wops. Though it’s worth saying that it doesn’t feel as though it is ‘cashing in’ on a retro-revival, but instead it’s delivered by an artist with such class and charm, as to feel like it’s literally lifted out of the 1960s.

Where Bridges goes from here will be interesting, as he could very well be a successor to Amy Winehouse in bringing the golden age to modern audiences.

The gospel-infused final track, ‘River’ is one of the most rousing songs you’ll hear this year, and is a must listen for anyone with a bit of soul in them.

3 tracks you have to hear:

‘River’, ‘Coming Home’, ‘Better Man’

 3. Courtney Barnett – Sometimes I Sit And Think, Sometimes I Just Sit

Conversational and deadpan, Courtney Barnett consistently brings the mundane to life. Her storytelling covers the morning commute, swimming and even offhand remarks about playing the noughties classic, Sim City. Delivered in a soft Australian accent over edgy garage rock, Sometimes I sit… is one of the year’s most rewarding records to listen to.

‘Depreston’, a song about rising house prices and the tedium of viewing property in the suburbs, is a real contender for song of the year. This in itself is a credit to Barnett. She delivers it with such wit and imagery that it’s bizarrely stirring. You can imagine her smirk as she sings, “it's got a lovely garden, a garage for two cars to park in…Or a lot of room for storage if you've just got one.”

You’d be remiss to label this as slacker rock, with the attention of a hawk the morbidly funny Barnett systematically deconstructs, and reconstructs everyday life and makes damn catchy songs in the process.

The album is her first full release, after previous EPs caught attention outside of her native Australia. She soon became Pitchfork’s lord and saviour, but with this attention and pressure she has delivered another haul of gems. In ‘Pedestrian At Best’, she barks, “Put me on a pedestal and I’ll only disappoint you” we have, but she really hasn’t.

3 tracks you have to hear:

‘Depreston’, ‘Elevator Operator’, ‘Pedestrian At Best’

2. Sufjan Stevens – Carrie & Lowell

By far, this year’s most intense listen. Sufjan Stevens’ latest release leaves brass and the vigour of earlier releases behind. Carrie & Lowell was written following the death of his mother, and it’s appropriately bleak.

His mother abandoned him when he was only 3 or 4 years old (“She left us at that video store”, he sings), and this collection of songs is Stevens’ parting letter to her. Be warned, it’s heavy.

It’s very raw to listen to, as if you’re listening to something you shouldn’t be. But the excellence of Stevens’ songwriting puts any uneasiness aside with a truly absorbing album.

Delicate and powerful, Carrie & Lowell is a sensational record - just not one for a dinner party.

3 tracks you have to hear:

‘Should Have Known Better’, ‘The Fourth Of July’, ‘Death With Dignity’

 1. Father John Misty – I Love You, Honeybear

In 2012 former Fleet-Foxes drummer Josh Tillman was reborn as idiosyncratic troubadour Father John Misty and his second release I Love You, Honeybear is in Tillman’s own words, “a concept album about a guy named Josh Tillman.”

As the misleadingly saccharine title would lead you to believe, this is a love album – but not like any you’ve heard before. Written following Tillman’s marriage, every single line uttered is irreverent, but dumbfoundingly poignant. He is the one to share those things you don’t hear in love songs. “I haven’t hated all the same things as somebody else since I can remember. What are you doing with your whole life? How about forever?”

The record is soulful, hugely satirical and crammed with grandiose musical arrangements. In doing so, Father John Misty delivers brutally honest insights which are beautiful in parts, and obscene in others. Written by a self-confessed misanthrope, the key themes are sex and the emotional turmoil of falling in love, as part of a whistle-stop tour of the male psyche. Lyrically, it works perfectly to reaffirm your faith in love, and in the power it holds.

He pins his unorthodox colours to the mast early on, opening the title track, singing like an old crooner, “Honeybear, oh honeybear. Mascara, blood, ash and cum on the Rorschach sheets where we made love.”

From here on he masterfully swings between profanity and the exquisitely romantic, between the absurd and the everyday feelings that love evokes.

Poetically, in the closing track, ‘I Went To The Store One Day’, which is a tender love song to bookend the record, he goes back to the beginning of it all and describes the moment he met his wife. It is absolutely fitting that the last line of the album is him recalling this moment simply stating, “I’ve seen you around, what’s your name?”

It’s tender and it’s warped as the real Josh Tillman is truly exposed, leaving it a no-brainer for the funniest and most touching record of 2015, not to mention the best.

3 tracks you have to hear:

‘Chateau Lobby #4 (In C For Two Virgins)’, I Went To The Store One Day’, ‘The Night Josh Tillman Came To Our Apt.”