Sinister: Quote: "About B&S" bit in "the List" (biggish)

[Shearer, Calumn]

>From "The List" 10-24 Sep 1998 (Issue 342) with Kelly McDonald on the
Cover 
And very nice she looks too....

b&s get a cover mention too.... (ooh, publicity!)

and I'm typing this in by hand, so excuse the typos, their probably mine
I'll do the Concert review later (not that they haven't been done to
death, it's just refreshing to see an "outside" view - as much as there
can be one with b&s - it's either "They're GREAT!" or "who?"

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Page 14

Belle and Sebastian
The American music Bible _Spin_ named them as one of the twenty most
important bands working today. Their last EP made the Top Forty.
Their concerts sell out in hours. Yet it's only now, on the release of
their third album, that they have released this photograph of
themselves.
Just who are BELLE AND SEBASTIAN?
Words: Fiona Shepherd

BASHFUL STREET KIDS

Some bands will do anything to grab the media's attention. Take Stuart
Murdoch of rampant self-publicists Belle and Sebastian. Only a few weeks
ago he was standing outside _The List's_ Glasgow office throwing bits of
paper bearing the traditional greeting "hello" through the window, as
part of his efforts to make us listen to his new CD, _The Boy With The
Arab Strap_, which he delivered personally on being admitted to out
writers' garret.
	This story - true apart from the 'rampant self-publicists' bit - is
only one of many delicious ironies about Glaswegian troubadours Belle
and Sebastian. The singer, who is prepared to deliver all his groups
albums by hand to this publication and presumably other interested local
parties, hasn't conducted an interview in eons, a potentially
frustrating state of affairs for the ardent breed of fan his group
attracts. The rest of this affable bunch are hardly hermits, frequenting
many fine West End hostelries on a regular basis, yet they won't readily
pose for group photos.
	This tendency to play their cards close to their chest has led to
accusations of preciousness from a snubbed press; but has this, or the
infrequency of their live appearances, stunted their appeal? It seems
not. What their wilfully unco-operative approach to promotion has done
is throw all the attention onto their lilting, wistful, graceful,
pastoral, huggable songs - three albums and various EPs (the most recent
of which made the Top 40) which have carved an idiosyncratic niche for a
group whose music may echo the past, but has no peer in the present.
	Stuart Murdoch's baby took a variety of forms before becoming Belle and
Sebastian. He first honed his fey 60's-inspired soundtrack pop in a
'group' and one-off club night called La Pastie De La Bourgeoise. Later
he recorded a demo under the equally pretentious name Lisa Helps The
Blind and accompanied it with a note saying: 'You may lambast me for not
being "rock" enough. But I've always preferred baby animals and cake to
rock. La Pastie was such a flop that I had to write a song of the same
name to redeem the evocation.' The song - an 'Alone Again Or' for the
90s, if you will, pop-pickers - finally surfaced on Belle and
Sebastian's '3...6...9 Seconds Of Light' EP.
	Belle and Sebastian, as they now appear, started to take shape under
the moniker Rhode Island, but it wasn't until they named themselves
after Cecile Aubrey's children's book about the friendship between a boy
and his dog - later a TV series - that the current line-up was assembled
in it's entirety.
	I first saw, or rather heard, them perform at a party in Garnethill.
They played in the bedroom, and I listened through the door because the
room was full. Even in the early days, it was difficult to gain entry to
their gigs.
	In 1996, the debut album _Tigermilk_ was released to general delight
and felicity on Stow College's Electric Honey label, and a recor company
bidding war would have ensued if the group hadn't already signed to
their current home, Jeepster Records, from where they have waged a
mischievous campaign against music industry norms.
	At first, interviews would only be conducted - if at all - when all
members of the band (six at the time) could be present. Posed band
photographs were definitely out, so their press shots consisted of
various tableaux featuring friends and cuddly toys, including a Last
Supper homage. This has proved a great wheeze, and one which did elusive
groups like The Residents no harm. Gigs have been relatively sparing,
compared to the prevailing 'gig yourself into an early grave' philosophy
of some bands, and in unusual venus where possible.
	All of which seems just about right for a sublime, talented and
perpetually in-demand group propelled by a man who prefers animals and
cake to rock. And one who, for all his aversion to the fame game,
fulfils the showbiz adage od always leaving 'em wanting more.

_The Boy With The Arab Strap_ is out now on Jeepster Records. See page
42 for concert review.
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