Skill was under no circumstances a concern with Long Fin Killie. Throughout their five-year lifestyle, the Scottish music group released three albums that improved because they got shorter and much less complex. The thing they grappled with — apart from the anticipated lack of industrial publicity — was harnessing their staggering degrees of musicianly skill. Formed within the middle-’90s in Scotland, Longer Fin Killie contains Colin Greig (bass), David Turner (drums), Philip Cameron (electric guitar), and Luke Sutherland (electric guitar, vocals). (Turner exited ahead of 1998’s Amelia, changed by Kenny McEwan.) Sutherland was the guts of LFK, the band’s vocalist along with a multi-instrumentalist who could hop from electric guitar to sax to violin easily within a live environment. Moreover, Sutherland had written the lyrics. More often than not provocative, he got on homophobia and racism using a literate contact that was just on Morrissey’s level, but certainly of his very own world. Sutherland’s slithery, soft voice could change from pulse-racing eroticism to angered politicism on the dime, that was just reflected with the band’s lush, recurring, Krautrock- and post-punk-informed rhythms. Sounding like no various other music group of their own time, LFK also included bouzouki, mandolin, and hammer dulcimer. Launching three records called after tragic heroes (Houdini, Valentino, and Amelia — all on As well Pure), the group obtained a small pursuing while touring with famous brands Throwing Muses, Pere Ubu, and Medication. Buckling under frustrations making use of their label, the music group folded soon after their last and greatest work in 1998. Sutherland, who’s also an award-winning writer and frequent accessories to Mogwai’s live lineup on violin, continued to create the trip hop/drum’n’bass-oriented Bows.