Whatever any of us feel about the corporate grip of major labels or alternatively about the way the internet revolution has helped give a voice to the underground once again, one thing's for certain: the industry needs its' fair share of mavericks if it's it stay in any kind of shape at all.
DANIEL PATRICK QUINN is one such fiercely independent-minded character whose uncompromising stance extends as far as his music, which he refuses to dilute for a quick buck. If you've been visiting W&H for any length of time you'll know we've reviewed Daniel's recent albums "The Winter Hills" and "Severed From The Land" as well as the just-released collaboration "Suilven 007" which features Daniel along with Edinburgh-based musician Beano Jameson.
Quinn also finds the time to run his Suilven Recordings label, at one time an enterprise run literally from his bedroom. Since the last time W&H spoke to him, though, he's converted to running it as a cottage industry: from his new cottage in the East Lothian countryside, where W&H placed a strategic call one night recently.
Dan, good to speak to you again. Tell us a little more about your recent "Suilven 007" mini-album. This is the first time you've worked in harness with another musician, in Beano Jameson. Did you find this a creative situation, or would you prefer to work alone again in the future?
"Well, it was an interesting project," Dan reflects.
"Beano sowed the seeds for three of the four tracks, and we worked the tracks up slowly, doing maybe 2-3 hours a week on them. It's certainly possible I'd collaborate with him again in future, but it's an ongoing quest of mine to form a band (laughs). I want to get my Rough Ensemble project out live as soon as I can. I'm due to meet a guy from the Border Counties soon - like me he's from Lancashire, funnily enough. He's a cellist. I hope he plays manically enough (laughs)."
Cool. But tell us a bit more about the mini-LP's one entirely solo track, "Dunstanburgh Castle". This has a slightly Celtic feel and a rich violin-led melody. Is this at all indicative of where the next solo Quinn album will be heading, direction-wise?
"In some ways yes, but at the same time no," considers Dan, obviously in a bit of a Hamlet mood.
"I mean, I'm hoping to change things a bit. I'm getting known for minimal instrumental music, but there might not be any instrumentals on the next one at all."
"I am pleased with "Dunstanburgh Castle", though, " he continues.
"I managed to make my violin playing sound competent on it for a start," he laughs, "which is amazing, because I admit I'm pretty hopeless at it. Most instruments actually, my whole approach is that two wrongs make a right."
The sum of the parts being bigger than the individual bits you mean?
"Yeah, exactly," says Dan. "It's all about how things interact for me. I've always been very anti-technology in terms of a stance. I've always felt it's better not to take lessons. It's that whole punk thing about teaching yourself. It's much more interesting to do things yourself, make interesting mistakes."
It's funny you should mention the violin. I like the textural usage of trumpet and violin on your tracks. Would you consider using a larger string section on future recordings?
"Possibly, but definitely not in a conventional way," Dan replies.
"I mean, not in a Manic Street Preachers kinda way, bringing in the token string section and making it all sound sentimental. With me it would have to be bringing in 3 shambolic cellists and keeping at least a semi-improvised approach, within certain guidelines."
You wouldn't write scores then?
"Oh God no," laughs Dan. "That would take all the fun out of it. The fact it could collapse into chaos at any time is what gets my adrenaline going, y'know! I like the idea that something could end up glorious, but could also collapse in on itself. I like taking chances like that."
Right, but I mentioned earlier about "Dunstanburgh Castle" having a tangible Celtic link. Do you think the East Lothian countryside affected your writing at all?
"Well, I've always been looking to write stuff that sounds rustic," muses Dan.
"I'm not really interested in anything that sounds modern and over-processed. For example, I couldn't write a song about a mobile phone or something. I look at music in a much older context. In the case of "Dunstanburgh Castle" it's a favourite place of mine and it's only about 40 miles from where I live, so I guess it is something I've absorbed from the area. But then, I want to make it more rustic still with the next album in a musical sense....less keyboards. Earlier on, my whole thing was to ditch guitars, so it continues to evolve."
"Death On The Ridge Road" is arguably my favourite of the three tracks where you collaborate with Beano Jameson. Words like 'cinematic' and 'filmic' really do spring to mind when I hear this, even though those terms are rather cliched these days. Are soundtracks an area you'd like to become involved in?
"Yeah, definitely," says Dan, "though I would like to stipulate that I'm not into commissions as such. I'd be happy to let someone use something of mine after I'd released it for a project of my own, but I couldn't write to order. I mean, I couldn't work writing for adverts or whatever. That's not me at all."
OK, but I know some of your proposed new work relates to subjects that could be considered 'pagan' in the "Wicker Man" sense, like "The Burryman" which relates to a certain ritual from the Queensferry area....
"Yeah, well I'm kind've into obscure legends, so that's another way I'm interested in rustic, folk-related subjects," reasons Dan.
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"I'm not into obvious historical Scotland, too, "Braveheart" and the like. I like the idea of getting obscute stories to a wider audience. Suilven Recordings is all about promoting people who don't take the obvious road really."
At a relevant tangent, "Nine Standards Rigg", from "Severed From The Land" features you taking on an earthy, Mark.E.Smith -style vocal that I really enjoy. Are you considering more vocal-based tracks in the future?
"Yeah, there'll probably be a number of guest vocals on the next album," Dan confirms.
"Though they won't be the expected, beautiful guest vocalists(laughs). They'll be a lot....earthier, you might say. I mean, by day I work at the art gallery in Edinburgh and one of the new tracks, "The Burryman" may well feature one of my colleagues from work. He's called Duncan and he's 60, so don't expect mini-skirted backing vocalists. There could end up being 2 or 3 very rowdy, pub-style voices on that track actually. So yeah, unlike "Nine Standards Rigg" where I sound pretty isolated, this will be a lot louder and chaotic."
Sounds great. Anything else new in the works?
"Yeah, one called "Northern"...it's about driving north to Scotland from Lancashire. Also, one called "Ennerdale Fence", about a stone wall in Cumbria...."
That's 'Ennerdale', not 'Emmerdale' right? No chance of getting everyone in The Woolpack doing backing vocals in there?
"No, no, though it sounds hilarious!" laughs Dan.
OK, well aside from your solo material, Suilven have been responsible for albums by USA-based electro-acoustic musicians such as DAC Crowell and Kurt Doles. In an ideal world, where would you like Suilven's roster to go?
"I'd like to work with more groups certainly," says Dan with real definititon.
"Though not average guitar-based bands. I'm after different things. Maybe a jazz band or something...not really rock as such anyway...something out of the ordinary."
"But y'know, as ever it's often down to finances however independent you are," he sighs. "I mean, most of Suilven's releases are relatively small pressings as yet. I don't have the power to make big deals. As yet (laughs)."
Will you be releasing more material from Crowell and Doles?
"Yeah, the next Suilven release will be their collaboration "Mercury." It's their second full collaboration, and you could describe it as ambient in the Eno sense, not the Ibiza sense. I don't want Suilven to become known as an 'Ambient' label. I mean, I'd happily sign a punk band if they were genuinely different."
Talking of which, I know you're a fan of the recent album by Pinkie Maclure and ex-Servants man John Wills on Fence Records, but aside from that, would you say you're largely disillisioned by much contemporary music?
"Yeah!" Dan shoots back. "Because I don't think there's enough personality in there at all. Mostly it's made by dull, home county types like Muse. Their idea of rock is just tenth rate...it's all people trying to sound like Thom Yorke all the time. That's why I like The Fall because Smith's so distinctive. Another thing that pisses me off is so-called "electronica" because there's too much technology involved. I feel very distant from all of that. I mean, I have no doubt there's always good, innovative music out there, but it's often hard to discover within the industry monopoly."
But are there any musicians of repute you WOULD like to collaborate if you had the chance?
"Maybe a duet with Robery Wyatt, that would be brilliant," enthuses Dan.
"Or perhaps get in Andy Diagram (ex-James and also from David Thomas's band) on trumpet! I'd love to use him."
But what about literary influences, Dan? Surely after living in the city that's produced the likes of Arthur Conan Doyle and Ian Rankin, the literary aspect much have rubbed off on you?
"No, not in terms of fiction," Dan replies. "I still read philosophy, Nietzsche, "The Birth Of Tragedy", that's great, about the philosophy of art, but I don't read like I used to. These days I'm inspired by things I do on a daily basis, hillwalking.....how about "Wainwright On The Pennine Way"? How rock'n'roll is that?"
Blimey. I'd say as top drawer as it gets. Compared with Alfred Wainwright, The Libertines are merely minnows...
"Yeah, yeah," guffaws Dan. "Wainwright versus The Libertines! Wainwright's the victor anyday right?"
Absolutely Dan. London urchins versus the man who scales Kinder Scout in the depths of winter? No contest. Now that's what we call rock'n'roll!
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