Song, by Toad


Toadcast #307 – The Joecast

tag Yep, not gin anymore, these days I drink coffee with my podcasts. Nostalgia really isn’t what it used to be, is it. I remember when I was wild, rude, inebriated, etc. etc…

Mind you, seeing as I am driving through to Glasgow once I finish this to engage in sensitive negotiations with a ‘hot new band’*, I think half a bottle of gin might not be the wisest preparation, even by my rather slapdash standards. So it’s a pot of coffee and some fine new music, and you know, I may even keep the nonsensical rambling to a minimum if I can manage it.

It’s going to be weird driving through to Glasgow actually, because I will be taking a friend’s car instead of Bette, because it has a working tape player while Bette’s is currently out of action. It’s still a Volvo estate, but just a normal one, and I have to confess it feels kind of weird that no-one does their ‘what the fuck is that?’ stare when I drive past. I’ve kind of grown used to that over the last year or two with the old girl.

Toadcast #307 – The Joecast by Song, By Toad on Mixcloud

Direct download: Toadcast #307 – The Joecast

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01. Becky Becky – I Remember, I Remember… (00.16)
02. Huerequeque – Homöopaatiline Epopöa (05.32)
03. Sex Hands – On a Break (15.47)
04. Jeff Flashinski – Disillusion (21.31)
05. eagleowl – Clean the Night (24.25)
06. Furs – An Eye on the Vicious (29.45)
07. Max Garcia Conover – Wildfires Outside Laramie, WY (33.45)
08. Waiters – What For Art Thou (43.52)
09. Sea Pinks – Dream Happening (47.12)
10. Maston – Gold Leaf (52.45)
11. Water World – Cream Soda (56.44)
12. Frankie Cosmos – Owen (1.00.23)

*Disclaimer: we are NEVER in negotiations with ‘hot’ new anything. As you well know.


Waiters – What For Art Thou

waiters Ahh, Waiters. I was writing about Sex Hands earlier today, and that put me in mind of our first Split 12″, recorded back in the Winter of 2011 I think, and if I recall Waiters were the first band we actually recorded.

I’d had plenty of good results with the Toad Sessions by then of course, but I was still nervous, and the Waiters songs are the first and (and to date still the only) songs where I personally have made technical mistakes which threatened our ability to use the actual recordings themselves.

It turns out that by sheer good fortune we were able to work around my errors and for all they were one of the most low-profile bands on that Split 12″ (except maybe Dolfinz who seem to have quietly drifted off into non-existence) I am still so proud of the songs they did with us – that sense of sad, lazy melancholy still feels to me like some of the best stuff I’ve ever recorded.

I offered to help them record an album in the same way afterwards, but for apparently they wanted to work at a slightly slower and more deliberate pace. It’s a shame, but that kind of thing happens with bands, and you can’t push anyone into something they aren’t entirely comfortable with, particularly not at this level where none of us are getting rich out of any of this.

Anyhow, Jon moving to the States seemed to put the brakes on a Waiters album permanently, but I forgot that a while back they asked me about this recording. I loved the songs, but at the time I said that I thought it would be financially a bit crazy, because 12″s are expensive to press, and you can only really sell a four-song EP for so much.

CF Records in Belfast, however, seem to have disagreed, which is excellent news. They specialise in short-run and limited edition releases, and clearly have a lot more experience in this area than I do, and I am delighted this release has found a way in the end because the songs are fucking ace. If you look at the rest of their releases you’ll see what I mean – so much good stuff.

This stuff embodies so much of the stuff I love about Waiters. I love Joe’s voice – just a little bit flat, in a way, but with such a warmth to it. When he sings sad songs you really do believe him, and for someone who likes sad music as much as I do that’s quite a big deal. The rhythm section chugs along mechanically but a little uncertainly, almost as if it is struggling to hold the whole song together. I don’t think these lads rehearse all that much, so that ‘about to stumble to a standstill’ feel may be simply an aesthetic choice or it might simply be what was actually happening in the room when they recorded.

Grey Matters and Mirror Threat are just gorgeous songs, and classic examples of that thrumming rhythm, slightly plaintive vocal delivery and unobtrusively downbeat atmosphere which make Waiters songs so compelling, and which made me so excited about the first Split 12″ when I pulled them off the desk and started the mixing process. I sincerely hope that between Joe’s stuff with Water World and Sex Hands, Perry’s fantastic Comfortable on a Tightrope stuff and umm… well I’m actually not all that sure where Jon is living now, that they still find the time to keep this band going, because they are bloody ace.

Waiters – Vacillate Wildly from Song, by Toad on Vimeo.


Maston – Opal

maston Looking at the actual purchase link for this album it appears I am actually writing a review from the point of view of only having heard Side 1. Never mind. We don’t do serious analysis here anyway, just pointing at good things and shouting ‘oh look, this is good’ at the internet in the hopes that someone else might take an interest as well.

Looking at the web shop of Stroll On Records you’ll see why I am being a bit blasé about this – their releases are generally excellent anyway, so I am prepared to go out on a limb and say ‘I have heard enough – this is really good’. Have a listen to their Soundcloud page here.

Anyhow, Opal is dreamy, meandering and excellent. The songs can be whole pop songs or wee snippets, instrumentals or simple pop tunes, but it all flows together really well, feeling at times like the soundtrack to a baffling sci-fi film where they never quite resolve what is reality and what is only happening inside your head.

There’s a wistfulness to it as well, perhaps achieved by the sense of vaseline-on-the-lens, blurred romanticism, and at times that sort of stylish 60s film score feel. It’s not by any means an unusual mixture these days, but this is done really well, and is one of those records I just warmed to immediately.

The band’s other work is perhaps a little more upbeat and for all this is a little different, it still actually filters through, providing a nice purposeful sense of rhythm throughout most of this record and preventing it meandering off into blind alleys. It’s dreamy, it’s a little ramshackle, but it’s never just noodling.

Get one here.


Sex Hands – Pleh

sexhands Listening to this has been a surprisingly nostalgic experience for me. The reason for this is that Gay Marriage, Chandler in a Box and The One Where the Stripper Cries were all recorded and mixed by myself for our first ever Song, by Toad Split 12″ some three years ago, and hearing their proper versions on a full album is rather an emotional experience, albeit in a quiet little way.

Invariably I find myself listening to the album versions of those songs and wondering if they are somehow closer to what the band wanted than what they got from us, or whether they preferred the performances or whether they simply rattled all the songs together in one session and these are just the current versions, rather than any kind of improvement. This is sort of creepy ex-boyfriend behaviour, I acknowledge that, but it’s almost impossible not to fall into the trap.

Without wishing to insult the band, it’s something of a weird thing to find what is basically a smart-arsed concept band by its very definition (all the songs are about episodes of Friends, in case the song titles above didn’t give it away) progressing from a few catchy singles into the relatively legitimate territory of releasing a debut album.

In a way, once you get the joke, you could argue that the band itself doesn’t need to exist much beyond that. ‘Friends? Yeah, right. Oh wait! Holy shit, they were fucking serious!’ and that’s about as far as you have to go.

Except this is a really, really good album. I am not allowed to use the word ‘garage’ to describe them, because apparently they have never been anywhere near a garage, but you know what that means as a sort of stylistic shorthand of course: rough-and-ready guitar pop songs, with plenty of growl, a bit of thrash from time to time and muffled vocals.

And, basically, the tunes are fucking great. From the instrumental guitar intro of Space Song, to the faintly surreal experience of listening to hugely hummable songs like On A Break whilst knowing exactly which intensely tedious dead horse the Friends writers were flogging at the time they wrote all the source material. Christ, that fucking thread just refused to fucking die. But it’s a cracking song.

And this brings me to something which might sound like over-rationalisation: the number of times people go into intense critiques of what depth and what subtlety they find in pop music, when this is almost by its very definition anti-intellectual. It’s shallow and basically frivolous, and let’s see what the writers at places like The Quietus or Pitchfork, where the serious music writing is done, actually make of this. I mean, it’s about Friends, for fuck’s sake, meaning that as soon as you have anything serious to say you are already being mocked by the nature of the record itself. It’s like music writing has been pre-satirised.

So really there’s nothing to be said about this. It’s a weird, silly record with awesome tunes and you should buy a copy because it is hugely enjoyable to listen to. It’s just pop music, I suppose.

Sex Hands – Chandler in a Box from Song, by Toad on Vimeo.


Jonnie Common – Trapped in Amber Album Launch Shows

Jonnie Common‘s glorious new album – yes, seriously, glorious – is being released into the world on Halloween of this year (pre-order your copy here) and to celebrate, we are arranging some launch shows. And they will be fantastic. Therefore you should come.

Aberdeen is (tragically) going to be the last Citizen Mule gig, so please give the silly oaf (Stevie, not Jonnie) a good send-off. The Edinburgh show is in the rather gorgeous Pilrig St. Paul’s, halfway down Leith Walk, and on the Saturday night in Glasgow the Save-As Collective have a special night planned, with a Miaoux Miaoux DJ set and everything.

The album is great, the shows are going to be great, I am just chuffed to bits all round with this whole business. And not a cynical comment in sight. What’s happened to me? It’s like I don’t even know myself anymore.

Thursday 13th November – Aberdeen
At Downstairs, with Christ and Colin Austin – tickets £5 on the door

Friday 14th November – Edinburgh
At Pilrig St. Paul’s with Wolf – tickets here.

Saturday 15th November – Glasgow
At the Glad Cafe with Wolf & Ross Sutherland – tickets here.

And just for fun, here is Jonnie’s new single.


Five Years of Audio Antihero

audioantihero Running a record label can be a little like being in Monty Python’s Spanish Inquisition at times, in that I lose count of the times I get into conversations which start with ‘The toughest thing about running a record label… wait, wait, the two toughest thi… actually the THREE toughest things about running a record label are…’ and so on and so forth.

It’s not the same as being in a band, but it’s close. I don’t think maintaining a level head amongst near constant rejection and occasional hyperbolic adulation is quite as personal a challenge when you’re one step removed from the actual making of the music. But there is what can only be described as a crushing sense of responsibility to the people who choose you to be the one to do your best with their life’s work, and make sure it gets out in the world properly, particularly if you are small and tend to work with friends and people who personally trust you.

A pal of mine who I have known since very near the beginning of the label is Jamie from Audio Antihero. You’ve heard about Benjamin Shaw, Jack Hayter, Nosferatu D2 and Superman Revenge Squad on the blog before, but more or less everything the label releases is good. And he has the best label motto of all time: “Specialists in commercial suicide.” I wish I’d thought of that first.

If you don’t trust me on that one, well there is a very simple remedy. To celebrate their first five years of existence they are offering up a free sampler – well pay-what-you-like, which is NOT THE SAME THING! – which you can get from their Bandcamp page here.

If you want a clear indication of why I like this label so much, I think it is summed up in their press release which contains maybe even more sarcasm and bitter cynicism than even these pages:

“It’s our “Birthday” – Audio Antihero has been a label for five long years. It could have gone worse, I suppose. I hope you’ve enjoyed some of it. Thanks for supporting.

50% OFF:
Get 50% off anything from our Bandcamp for the next 48 hours (expires Friday) with the discount code “fuckthisshit” (after that, it’ll switch to a 15% off code). Valid on anything (CD/Digital/Cassette/Stress Ball).”

Kindred spirits, clearly. Anyhow, go and buy things. Or least listen to them closely, to make up for the fact that I didn’t write about the Cloud album when I actually rather liked it. Sorry Jamie. Here’s to the next five years old chap!


An Orgy of (sort of) Exploitative Vinyl Re-issues

Frozen So many vinyl-reissues and only so much cash. I fucking hate this kind of choice, and I can’t help but feel a bit ripped off, but the truth of the matter is that for all it seems a bit cheeky, I still really, really want these immaculate new vinyl versions of old albums I love.

Part of Guy Hands’ comically disastrous purchase of EMI a few years ago was the anticipation of mining the back catalogue of the label for infinite re-packaging and re-release. It was supposed to be a viable new model, and for all it failed completely, the idea was clearly not crazy because a lot of people are enthusiastically embracing large aspects of it today.

For example Mute have just sold their back catalogue to BMG, and one of the first things that they did was to decide upon an immediate re-release of most of Nick Cave and the Bad Seeds’ back catalogue. As a massive Nick Cave fan, of course this is thrilling news for me, albeit in a slightly wary sort of way.

But really, given I have already bought a lot of these albums a couple of times already (the old vinyl -> tape -> CD -> etc… milking process) there is a perfectly reasonable argument to make that this is basically just ripping off an existing fanbase, exploiting their nostalgia and love for the bands to get your hands in their now well-stuffed middle aged pockets. It can feel, no matter how much I love a lot of the music, pretty grubby.

This isn’t a new thought to be considering, of course, but at this point in time there are three series of these reissues which all seem to be approaching it a little differently, and I think it sort of highlights where I start to feel exploited, and where I think that it feels less like back-catalogue-flogging and more like fan-boy completism.

Bob Dylan Bootleg Series

It feels fair to say that pretty much no-one has exploited their back catalogue more (or indeed better) than Bob Dylan. Live show reissues, rarities, early demos, encyclopaedic album sessions… you name it, if he’s recorded it, someone has remastered it, stuck it on vinyl and flogged it to idiots like me.

For all I feel that my weakness for Bob Dylan has been identified and exploited, though, I am not sure I would really call the Bootleg Series exploitative. It’s a bit merciless, I guess – I mean, holy fuck, how many hundreds and hundreds of pounds have they managed to prise out of me since this series first started, but holy hell it’s good. The records are beautifully packaged and accompanied by gorgeous design and extensive writing and photography, and this really helps emphasise the raison d’être of the collection, as well as making it a wonderful thing to own in and of itself.

Some of it’s a bit obscure and weird, but for the most part this is all new material as well, things which existing über-fans and regular passive fans can enjoy equally. As an example, the 1966 Royal Albert Hall recording is arguably the greatest live album of all time. For a casual Bob Dylan fan, this contains some of the most ferocious and vital recordings of his music – it’s not just scratchy shit, played and recorded less well than the album the songs were released on, these are actually the best versions ever captured of many of these tunes. On the other hand my parents are huge Dylan fans – my mum was actually at the Manchester Free Trade Hall show which gets surreptitiously spliced into the recording part of the way through. They were, in fact, amongst the outraged folkies who howled in dismay as their hero went electric.

When I bought this for my folks I said ‘I know you’ll love the acoustic half of this, but just listen to the full band side – it’s one of the most electric (ha ha), confrontational performances I have ever heard’. Predictably, after a few weeks they got back to me saying ‘well yes, but the acoustic side really is incredible. It’s Dylan at his best really.’ But what surprised me was my dad taking the time, almost a year later, to agree that the second album, the plugged-in part, really was incredible – that it really was the highlight of the album.

So it works for casual fans, it works for lifelong fans, and for someone like myself it made me understand just how intense the betrayal when Dylan went electric really was for his fans, even to a degree for society itself, something I could never have understood from simply reading about it. This may be the pinnacle of Dylan’s Bootleg Series and an exceptional moment in music history, but if you are going to mercilessly mine a back catalogue for things to sell to people, this is how you do it.

The Wedding Present Reissues

The other vinyl reissues I wanted to discuss are a little different from the Dylan Bootleg Series, in that they aren’t releases of material people haven’t necessarily heard before, they are simply plain old reissues of old albums to an established fanbase. This is where things start to feel a little more dubious. ‘Hey, people who already bought this the first time, how about buying it AGAIN? This time for TWICE THE PRICE because it’s a deluxe reissue on heavy vinyl.’ You know what I mean.

Where these reissues make sense, however, is that The Wedding Present were at their most prominent during the nineties nadir of vinyl manufacture. A lot of their stuff was pressed, if at all, in runs so tiny that getting hold of the bastard things is a serious challenge. I know. I have tried. Bizarro and Seamonsters can be tracked down, but the likes of Watusi and Saturnalia represent a bit more of a challenge and can be rather expensive. So for all I kind of resent paying once again for albums I have already bought on CD, well, I still sort of get it, and really it’s my own stupid choice.

Plus, once again, the artwork may not be new but they have taken care with the re-packaging and included single b-sides and EP released around the time of the album as well, and the Wedding Present are a very good b-side band. I still am sulking about it a bit, I must confess. I have successfully tracked down Bizarro and Seamonsters second hand, and I am now looking at these re-releases wondering if I really, really think it’s worth it but… oh, I don’t know. It’s tricky. There’s good stuff here, but it does feel a bit like I am being tricked into paying for the same damn thing over and over again.

Nick Cave and the Bad Seeds Reissues

This is actually today’s announcement: full vinyl reissues of more or less every fucking Nick Cave and the Bad Seeds album. This was a proper fucking forehead palm-smack moment for me, because I have put a fair bit of time into finding these recently, and to own slightly tatty old copies when new, heavy, shiny ones will be available so soon is hugely galling.

Beyond just plain bad luck with timing, however, there are a couple of aspects of this which really do smell rather strongly of fish. The first and most obvious one is that this series of reissues includes fucking Dig Lazarus Dig, which was only released in 2008 in the first place.  Come on, lads, there’s surely no fucking way that merits a reissue already.

The second, and one which perhaps annoys me the most, is this: for all these are all being remastered the actual quote from the press release about the artwork is this: “Each album has been crafted to reflect the original release from the cover to the printed inner sleeves”. Now, I may be being unreasonably cynical, but to me that reads like they haven’t really done anything to the artwork at all. It’s possible that the original recordings were over-compressed in the mastering stage, because that’s what people did back then, but unless they are remastering the original mixes there’s not much that tweaking an over-compressed master can really do, so even that causes me to raise my eyebrows a little.

I suppose it’s also arguable that a lot of these were originally released on shitty 80s vinyl pressings where the record itself was wafer thin and the liner notes were minimal, so maybe these will just be slightly better quality, but these records are out there so for the most part their scarcity is debatable, with the exception of a couple.

The final product may prove me wrong here, but what this whole enterprise smells of to me is someone realising that the market for second-hand Nick Cave vinyl is strong, there is no in-house stock, and dammit that money should be ours. And that’s actually fair enough, I guess. If people are buying Nick Cave records, they should be buying them from Nick Cave.  But once again, I find myself in a position where I have paid for these damn albums so many times I am really starting to resent it. I love the music, I go to the shows, but if I am going to cough up for something like my third fucking version of Henry’s Dream then at least give me something new so that I don’t just feel like you’re taking the piss.


Well, simple, really. I assume that most of these records are being sold to existing fans. It’s possible that this is considered as a chance to gain new press for old material and perhaps address an emerging fan base who might be more likely to buy vinyl than they were ten or fifteen years ago, but in general this stuff is being sold to people like me: people in their 30s and 40s with slightly deeper pockets than we once had and an enduring love for the bands in question. So really, as much as I moan, I really do want these products.

I am delighted about the chance to hear Bob Dylan scare the shit out of his audience for having an electric guitarist and a drummer in his band. I’m actually quite excited about being able to get the three 10″ vinyl reissue of Seamonsters with all the accompanying b-sides and EP tracks. And actually, I hadn’t thought about how good an album No More Shall We Part is for ages, so I am pretty chuffed about it being available on vinyl as well. But please give me something. If you are going to come back for my money again and again for the same material, at least put effort into the artwork, the context provided by the accompanying material, the historical significance for dedicated fans of the band of the unheard material you include, and.. well pretty much anything that makes this more than just a clean, new duplicate of an album I already own, and probably also bought on CD in the 90s too.

It needs to be a bit more than that, because one side is giving dedicated fans something of depth, interest which strengthens their relationship with the band, and on the other is simply ripping people off because vinyl is back again and you know you can get yet another payday for the same damn material. So it’s a very fine line, but not one you want to fall on the wrong side of.


The Wytches – Annabel Dream Reader

wytches I’ve played these guys on the podcast a couple of times already, and I’ve had the album for a while, but it seems to be one of these records where what I think of it yo-yos back and forth every time I listen to it. Sometimes I think it’s fearsomely fantastic, sometimes a bit chuggy and samey, and it doesn’t seem to depend on anything consistent I have been able to notice besides mere whim. Which I don’t like. I prefer to know what my opinions are and why I have them.

Gravedweller, for instance, has a baseline which could easily enough be straight out of Love Buzz. Get me in the right mood and I think ‘fucking brilliant, what a fantastic baseline’. The wrong mood and the similarity bugs me a little.

Generally I love the thumping intensity of this album. It’s psyche-rock (not in the way everything these days is fucking psyche-rock, this is actual psyche-rock) but it’s dark and heavy, and you just can’t really imagine them playing this at anything other than full pelt. There’s something about that heaviness which is a real gut-grabber, too. It makes you screw up your face and bunch fists and do a really aggressive pigeon-peck with your head.

I don’t mean to keep coming back to Bleach again, but there’s loads of it in here, meaning that more than a lot of the other psyche revivalists out there, but the result is that instead of just being a knock-off band with (in some cases admittedly) great tunes, these guys feel really fresh.

I fucking hate that word, particularly when used to describe new music; in fact I really hate it. But there’s life and sparkle to this which belies its relatively familiar recipe. There’s nothing new here really, and it can get a bit chuggy, so when I am in the wrong mood that bugs me a bit. But generally it’s just awesome.

I mean, as thrillingly wild songs go, the rest of the world is going to have to go some way to match Wire Frame Mattress this year. The other single Burn Out the Bruise has possibly had more radio play I think, and is a cracking song in its own right, but Mattress is just fucking great.

Again, the recipe is relatively simple – guitar, bass and drums with some pretty familiar effects pedals – but it’s all played with purpose and energy. There’s a sort of reckless abandon here which is utterly absent from pretty much any band who are described as ‘bringing back guitar music’.

Royal Blood, for example, when they hear this, should give pretty serious consideration to retiring immediately out of sheer embarrassment. Not every tune here is brilliant, but ‘guitar revival’ bands seem to all sound so leaden, whereas this is loose, brilliant fun and played with gleeful malevolence.

Also, if anyone buys one from Heavenly, which you can do here, can you please let me know where to go to validate my download code. I bought the damn thing in a shop and got a card with a code, but no clue as to where to redeem it.


Looking Forward to 2015

future What, seriously, already? Actually, as much as Christmas being in the shops already annoys me, and as much as online List Season starting in November also annoys me, at a record label where manufacturing lead times are now measured in months rather than weeks, and where a PR campaign takes four months to execute, 2015 has actually been on my radar for some time.

The thing is, we’re going to be sort of different next year, I think. Our two biggest-selling bands aren’t going to be releasing anything for a while, if at all.  Sparrow and the Workshop are in double-baby meltdown/heaven (delete as appropriate) and Meursault are officially no more.

In terms of our more established bands, Adam Stafford is working on a new album, which should be reaching completion near the end of the year, David Thomas Broughton has a mental but brilliant transcontinental project planned, Meursault has become Neil Pennycook who has become Supermoon, and Rob St. John is also working on new recordings. And I haven’t heard much from The Leg recently either, which tends to mean a new album is somewhere in the future.

Before all of this, however, we’re likely to be releasing something like four debut albums, and these can be weird, mostly because they are so unpredictable. The Plastic Animals one is being mixed as we speak, Numbers Are Futile have finished theirs, Ian Turnbull from Broken Records has made a beautiful instrumental album which has just gone for mastering and there is something very rocky and boisterous which we are likely to be releasing but I can’t really announce just yet as I haven’t actually heard the record – tonight, apparently!

The upshot of all this is twofold. Firstly, we could look like a very different label by the middle of next year. All the new bands will give it a very different flavour, I think, and the music is a wee bit different from what we normally release, which is rather nice.

Also – and this is the part which gives me the most thought – a lot of the stuff we’ll be doing will be short-run, either because that’s the safest way to deal with debut albums or just because it is the nature of the project itself. We’re also going to start releasing some stuff on tape too, and these are short run pretty much by definition and should allow us to do a lot more spontaneous, informal recording in our new warehouse space.

Consequently, instead of not having anything by our two biggest-selling artists being a drawback, I actually think it could be turned into a real advantage in a way. I won’t be worrying as much about managing big PR and distribution campaigns, and I think by far the best way to make a virtue out of a necessarily short run is to make each one really quite different. Not that we didn’t put a lot of thought into our releases before, but it simply isn’t practical to give each artefact individual care and attention when you are making thousands of them, whereas with hundreds you can do something a bit more special.

I would like to work a lot closer with local artists and illustrators too, and maybe get them and the bands into the warehouse together and make the release more of a collaboration, get a printing station set up and do our own screen-printing, try and find really nice things to add to our releases beyond just giving people a record, be it art, photography, writing… anything which makes sense with the band and the music and which just makes each release that little bit more personal and that little bit more of a treat.

I don’t know quite how these changes will affect our reputation or the image this label has in the public eye, but it does go back to what we intended to do when we started out, which is to make short, DIY runs of interesting music that might not be obviously commercial, and not worry too much about being a junior version of a traditional record label, which frankly the world has more than enough of already.

So it’ll be different. But I think it’ll be ace – I’m really looking forward to it.


Toadcast #306 – The Crumbscast

tag This is called the Crumbscast for no better reasons than that I like the name and that it starts with a song called Crumbs, the new single by Jonnie Common. Given I’ve had to try and think up unique names for all of these bastard things anything which sounds good and has at least a tenuous link to the topic at hand will do.

I’ve not done a podcast for ages actually, but the last one was the one just before the independence referendum, and I still feel so utterly let down and disappointed with how that went that I’ve been unable to really talk about it since. On you go, Westminster, you’re doing a decent enough job really – at least a better one than we could ever hope to do on our own. Is that really the message we just delivered to the world? Yes, yes I think it is, at least to some degree. How sad.

So you see, probably a good thing that I waited at least a couple of weeks for the worst of the depressed bitterness to wear off. I almost get dragged into it at the start of the podcast, but like a champ I manage to break free and deliver an hour (and a little bit) of the usual awesome music that no-one’s really heard of because the world is WRONG about music. Sorry.

Toadcast #306 – The Crumbscast by Song, By Toad on Mixcloud

Direct download: Toadcast #306 – The Crumbcast

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01. Jonnie Common – Crumbs (00.22)
02. Tired Tape Machine – Your Ghost (07.30)
03. Passion Pusher – BLT (17.18)
04. Allison Crutchfield – Supermoon (22.22)
05. Sun Kil Moon – War On Drugs (31.01)
06. Velvet Morning – Green Whale (40.31)
07. 808s and Greatest Hits – Great Western featuring A. Fantastic Reprise (48.44)
08. Memory in Plant – Rainy Veins (54.09)
09. H. Hawkline – Black Domino Box (58.01)
10. Wallflower – Ambien (1.03.02)