These recordings represent the point where the tastes of the Brighton based Mindless Ones meet with those of their Scottish counterparts. The Brighton boys generally like to listen to recordings of ghostly mops being thrashed till they whimper, while their friends in the North prefer a mix of hip-hop and rock that can only be described using words that start with the letter“A” – arty, angular, American, or just plain old arsey will usually do the trick.  It was one of my Southern friend who first introduced me to Hype Williams’ One Nation, a collection of electric dreams that sometimes sounds like the work of a mind trying to think its way out of existence.
If the strangely absent sound of the instruments on album opener ‘Ital’ provide a suitably morbid build-up to this concept, then the pitched down narration that runs through the second track ‘Untitled’ literalises it:
The people who are still alive when you die might hurt because you are gone. That is okay. People love other people and usually it hurts when people we love die. We even comfort ourselves with those stories that the dead person is… not really dead, and that is okay too. But of course everyone dies, and you will too…
There’s something of the live band about this, a sense that these songs are happening in the moment, the work of minds and bodies that are reacting to their immediate situation. A lot of this has to do with the halting, tentative quality of the synth playing – set against the generally spacey, metronomic thud of the beat, the melodies have an uncertain quality to them, a sense that they are being recorded before they have finalised.
 In this first paragraph I set out a theme that will become increasingly important as you make your way through these footnotes: my inability to do justice to my subjects. While they’re a bit more into the whole hauntology thing than me, the English Mindless have musical tastes far more diverse than my “live from the haunted broomcupboard” jibes allow. As a slightly cross Amypoodle once told me after a day’s worth of trolling back at Mindless HQ, he listens to music that draws on everything from house to grime and beyond, and his beard is *definitely* not haunted. Similarly, while it’s true that myself and the Bottie Beast share a fondness for American rock and hip-hop, the same can’t be said for Mister Attack, who was officially 200% more Scottish than me last time I checked. Also: London based The Beast Must Die is every bit as hip-hop savvy as Dundee’s own Botswana Beast, and despite occupying the geographical midway point between the camps I set out in this opening Andre Whickey has tastes of his own that have been well documented elsewhere. This first paragraph is total bollocks, basically, and this post would almost certainly read more smoothly without it. “Why’s it still here then,” I hear you ask. Well, it’s all about signs of life, innit? Organic traces, the fleeting thoughts of decaying matter, etc. Or at least, that’s what I’m telling myself today!
 Like most any “Other” you could care to mention, One Nation is a lot more complicated than my crude reduction of it. My worst crime in this regard comes from my total failure to mention the sense of humour that runs through the artist’s name, into some of the track titles, and indeed into some of the specific techniques Let’s be kind to my overall thesis by saying that humour is a part of all aspects of life, and that this playfulness is yet another example of One Nation’s engagement with its own fleeting nature.
 Hind’s book is one of the great novels of and about Glasgow, and while I might only have picked it up because I was working on a project with the same title (and, as it turned out, some elements of the same premise!) but I’m not taking the opportunity to recommend it to anyone who’s ever struggled with the question of what they’re here for and ended up more interested in the “here” than the “they”.
 Again, I’m guilty of hammering some of the edges off of Clams Casino’s sound in order to better make it fit my thesis here. It’s not that my take on his music is in any way untrue so much as it’s only a selective portrait. Clammy Clams’ music bangs, plain and simple, and ‘Palace’ is a good example of this but it’s hardly the only one…