Independence movement

Rip It Up Unwrapped only recently came onto my radar with the KLF episode, but also very much of interest was the one on Chemikal Underground, the label founded by the Delgados that proudly flies the flag for Scotland and very quickly became synonymous with quality.

The episode traces how - inspired by the likes of Factory and (closer to home) Postcard, as well as the fertile scene that existed around Glaswegian venue the 13th Note (and Alex Kapranos' night Club Mouth in particular) - the Delgados set up their own imprint in 1995, each investing £200 to get it off the ground.

It was a bold decision, and one that heralded a steep learning curve; as they readily admit, they knew precious little about how to create artwork and packaging, or how to be sure of getting records onto the shelves of national chains. However, they were savvy enough to build their own studio, Chem19, which gave bands like Mogwai the freedom to breathe, experiment, discover and develop without the time and cost pressures of being in an independently owned studio.

As is usually the case in success stories, luck played a significant part. The record industry in the mid-90s was buoyant, and when 'Kandy Pop' by very early signings Bis became a surprise hit single, shifting 30,000 copies in the wake of an appearance on Top Of The Pops, the windfall was immediately invested in recording the Delgados LP Domestiques. Chemikal Underground was properly up and running.

Of course, the story of any label also encompasses the stories of the bands and artists on it. So it is that the documentary underlines the genius of Arab Strap, straight outta Falkirk, whose demo immediately caught the ear of Alun Woodward. Aidan Moffat talks about how important it was to make music "in our own voice", something that particularly struck the late Scott Hutchison of Frightened Rabbit: "They were the first band I heard that made colloquialism cool."

Mogwai also merit a significant mention - and Chemikal Underground deserve serious credit for ignoring the industry types who warned them to steer clear because instrumental music supposedly didn't sell. Delgados drummer and Chem19 producer/engineer Paul Savage recalls how Stuart Braithwaite and crew insisted on pushing the studio's equipment to the limit, and beyond.

It would have been interesting if the documentary had tackled the slightly thorny subjects of Mogwai jumping ship to set up their own label, Rock Action, and of Arab Strap's ill-fated dalliance with Go! Beat. And the narrative also dwells very much on Chemikal Underground's past, rather than giving any indication of its present status or future prospects. I for one would have liked the reassurance of knowing that the label is in good health.