Music

SCOTT C. PARK Releases Church-bashing slacker-pop: “Slide” 

SCOTT C. PARK – returns this Autumn with new single: “Slide”, a track of surficially sanguine slacker-pop that fires subversive pot-shots at organised religion from the sidelines.

LISTEN TO “SLIDE” ON SPOTIFY HERE || WATCH THE OFFICIAL VIDEO HERE

Taken from a new 7-track EP entitled ‘Scampy Lampy’, it’s a release that confirms Park as one of most exciting alternative singer-songwriters currently operating under-the-radar. Out 12 November on Charlie Clark’s No Big Deal label, the single and EP are available to hear now as follows:

LISTEN TO THE ‘SCAMPY LAMPY’ EP ON: SPOTIFY || APPLE MUSIC || YOUTUBE

Described by Park as “the smirking soundtrack to my exit from Christianity”, “Slide” is a song that finds the Isle of Lewis artist turning down communions to instead turn-up the gospel according to Metallica. A daringly damning indictment of the Church, its Parquet Courts-esque call-back chorus of “joining is easy… the hard part is leaving” is likely to convert plenty of believers to Park’s songwriting abilities, less so the big man upstairs.

Adding personal context to “Slide”s revelatory, if controversial, subject matter, Park reflects:

In the churches I grew up in, doubting one’s faith was called ‘backsliding’. You’d hear murmurs at the after-church tea & biscuits about such and such a fellow who was spotted out drinking in such and such a bar at the weekend, snogging some heathen lout. Textbook backsliding. It’s a term that bothers me because it implies passivity — like the only conscious choice is to believe in the Bible, and anything else is seen as a form of giving in to the inevitable temptations of ‘the world’. For me ‘backsliding’ was a choice to move away from something that was making my mental health worse, was enforcing upon me a worldview that felt at odds with my inner morality, and most of all — was clearly (at least to my own judgement) historically untrue. In the song I kind of touch on examples of backsliding behaviour, and reclaim the humanity and inherent goodness in these moments. Pretty much; if I’m backsliding, it’s a pretty fun slide.”

With its laid-back and loping riffs, laissez faire lyrical observations and a fuzzed-up guitar solo so precarious it threatens to derail at any moment, “Slide” somehow hangs together as one of the slickest pieces of slacker-pop you’ve likely ever heard come out of Scotland. With a sound that apparently owes more to the Playstation than his time spent in the pews, the track takes its musical cues from one of popular culture’s less-likely prophets…

“One of the biggest inspirations to this track was the Spyro the Dragon soundtrack on PS1.” grins Park. “That game’s soundtrack was full of funny dominant 7th chords at every opportunity, and this was what I was trying to channel with the textures and chords on this song.”Finely balancing the sincere with the silly, like the playground staple of its namesake, “Slide” is a release that ultimately wants you to have fun. Something that proves to be a recurring theme throughout his new EP: ‘Scampy Lampy’. 

A testament to the fact that even the greatest art can come from the most unlikely of places, the ‘Scampy Lampy’ EP was largely recorded in the laundry room of a campsite on his home of the Isle of Lewis. With all tracks written by Scott C. Park, its songs navigate through lyrics of the heart-warmingly comical to the heart-on-sleeve confessional, as he tells his story of losing faith to searching for inner peace. 

“The ‘Scampy Lampy’ EP generally deals with my mental health journey of leaving behind nearly a decade of committed Christianity. Park says. “During the making of it I got some counselling and other forms of therapy, and now my mental health is the best it’s been in ages. Having these songs was a big part of that too — sometimes a feeling doesn’t really present itself to me unless I write about it for a few days.”
Featuring “Slide” as well as the dreamy previous single “The Smoke”, the diverse range of sounds explored by the EP find Park straddling the lo-fi sidewalks of Pavement as much as they find him stalking the streets of Nashville; tipping his hat to the oeuvres of Wilco, Kurt Vile, and Bright Eyes along the way. 

Mastered by Pete Fletcher at Black Bay Studio with additional drums and synths also added there, the EP was mixed jointly between Fletcher and Park. Additional contributions throughout the record include those from DC Macmillan and Simeon Fletcher on drums, Paul Martin on keys, Conor Smith on pedal steel, Michael McGovern on acoustic guitar, and Park’s wife Danielle on backing vocals.
The honest declaration of an artist trying to figure out the world, whilst having the most fun he can along the way, on the ‘Scampy Lampy’ EP Scott C. Park lays the foundation for a bright and promising career ahead. Oh and if you were wondering about that name:

“It’s called Scampy Lampy because it’s a silly sounding name. I like that.” says Park.

In support of the new music, Scott C. Park will be hitting the road for a series of shows with Colin Macleod. Catch him at these dates and venues as follows: 

WINTER TOUR DATES

18 Dec: Aberdeen, The Tunnels*19 Dec: Glasgow, Oran Mor*21 Dec: Edinburgh, The Caves*23 Dec: Stornoway, An Lanntair (Sold out)*

*w/ Colin Macleod

Tickets on sale here: https://www.gigsinscotland.com/artist/colin-macleod

Scott C. Park makes country-tinged indie/americana about what it feels like to change. Writing songs about identity, religion, and the weirdness of human behaviour with the unique perspective his island home has nurtured, Scott’s songs veer from the angular to the breezy and are as memorably striking as the landscape that surrounds him. 

Combining the wit and smirk of Pavement, the lyrical detail of Phoebe Bridgers, and the bare-all confessionals of Bright Eyes or Frightened Rabbit, the rich and varied charms of his latest EP ‘Scampy Lampy’, place him well within in their esteemable company.

The EP is released via Charlie Clark’s No Big Deal Music, a label which places the spotlight on some of the finest sounds currently emerging from the Scottish Highlands and Islands and confirms him as one of the region’s brightest new talents.

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