David Scott serves as the unchanging core of the Pearlfishers, a perpetually evolving Scottish ensemble renowned for its luminous soft pop that fuses acoustic foundations with understated orchestral details in a manner reminiscent of Prefab Sprout relocated to Glasgow and deeply enamored with Brian Wilson. Formed in 1989, the group has steadily honed and expanded its sonic approach while attracting an ever-increasing circle of devoted listeners.
During his teenage years in early-1980s Glasgow, Scott began composing material. In summer 1984 he played his initial home-recorded attempts for local player Bobby Henry, who agreed to include two tracks on The Shift Compilation, an anthology of Glasgow acts issued via Henry’s Shift Records label. Issued under the whimsical moniker Chewy Raccoon, the pieces drew sufficient notice that Scott and his colleagues secured a deal with Phonogram, Shift’s distributor, which put out the sole single “Don’t Touch Me” in August 1985. Commercial failure followed, Phonogram parted ways with Scott, and the Chewy Raccoon name was retired.
The next year Scott joined forces with Australian-born drummer Jim Gash, keyboardist Robert McGinlay, bassist Chris Keenan, and backing vocalist Jeanette Burns to launch Hearts and Minds, the immediate forerunner to the Pearlfishers. CBS Records released their lone single, the folksy “Turning Turtle,” produced by 10cc’s Eric Stewart, in September 1987. When that record met the same fate as its predecessor, internal tensions dissolved the band, prompting an exit from CBS in early 1988 and leaving Scott permanently disillusioned with major-label dealings.
Scott and Gash promptly assembled a fresh lineup that included keyboardist Brian McAlpine and Yugoslavian bassist Mil Stricevic. After an American band also called Hearts and Minds signed with A&M Records, the group adopted the name Pearlfishers, borrowed from the Bizet opera. Having been twice disappointed by record companies, Scott launched his own imprint, My Dark Star, which issued the Pearlfishers’ debut single “Sacred” in late 1990. Plans for an album provisionally titled The Flo’ers o’ the Forest were later dropped in summer 1991. Material from those sessions was reshaped into the EP Hurt, released in November, followed in early 1992 by the cassette-only Woodenwire, a strictly acoustic collection containing a musical setting of a Robert Burns poem alongside two traditional Scottish folk songs.
Crafted across nearly a year of intermittent sessions, the Pearlfishers’ first full-length, Za Za’s Garden—titled after one of Scott’s pre-Chewy Raccoon compositions—appeared in August 1993. Co-produced by Scott and McAlpine, the record largely set aside the rustic and folk-oriented qualities of earlier releases in favor of pristine arrangements and Beach Boys-inspired harmonies supported by McAlpine’s subtle keyboards.
Subsequent personnel shifts began after Za Za’s Garden. For several albums that followed, the Pearlfishers effectively consisted of Scott and McAlpine joined by a changing cast of rhythm sections and additional players on strings and reeds. During a lengthy interval between the first and second albums, Scott collaborated with Duglas T. Stewart of the BMX Bandits on two touring revues celebrating the music of Scott’s chief inspirations, Brian Wilson and French jazz-rock figure Serge Gainsbourg.
Under contract with Germany’s Marina Records, Scott and McAlpine delivered what many regard as their strongest work, 1997’s The Strange Underworld of the Tall Poppies, an album positioned in relation to Pet Sounds much as Za Za’s Garden had been to The Beach Boys Today!. Two interim EPs, Even on a Sunday Afternoon (1997) and Banana Sandwich (1998), preceded 1999’s The Young Picnickers, another collection of introspective, semi-orchestral pop that included a contribution from Stewart. Scott and Stewart worked together again in 2000, both onstage for a concert tribute to Italian soundtrack composer Ennio Morricone and on the Marina tribute album Caroline Now!: The Songs of Brian Wilson and the Beach Boys, which they executive-produced.
Across the Milky Way (2001) marked a new phase. McAlpine’s departure left Scott handling keyboards in addition to his customary guitar and bass roles. The record adopts a somewhat more restrained scale than its two predecessors, favoring an intimate, live-in-the-room atmosphere. Original drummer Jim Gash rejoined, while bassist Lindsay L. Cooper of the avant-garde jazz trio Day & Taxi appears among a dozen guest musicians. The Strange Underworld of the Tall Poppies received a reissue the following year.
