Yes indeed, people. In a few hours I shall be making my radio bow on Edinburgh University’s Fresh Air Radio, which I am sure will be a suitably terrifying experience.  No matter how piss-easy I’m sure this stuff is (I mean, one button to play, one button to talk – hardly rocket science, surely) I nevertheless find myself completely certain I will manage to locate the self-destruct button somewhere on that array of knobs and levers and so on.  And you’ve heard my podcasts they are hardly the most disciplined of ventures, so god knows what sort of a fiasco we could be in for.

Nevertheless, it seems like fun and they have been kind enough to give me a slot, so here goes.  I’m on from 20.30 – 22.00, Tuesdays for the next four weeks, until the studio closes down again when the students are on holiday.  Click on the listen live button on this page to tune in.

And, by way of jollying you along, here’s a song that I was intending to put on the playlist but couldn’t quite find the room for.  Splendid track though.

Fishboy – Half Time at the Proper Name Spelling Bee

I am writing this one quick, because that unemployment rant needs to be shunted down the page pronto! Christ, sometimes I really need to remind myself that this site is supposed to about music – music you fool!

It’s rare that a simple acoustic troubadour manages to avoid sounding a little thin, but this is something Mr. Godwin achieves with considerable aplomb. You may remember him from my recent Jacques Brel post – well Next! was great, and the rest of his music is rich, deep and comforting as well. I know it has the aspects of a drunken, careworn barfly, but this is clearly manifested as a theatrical device rather than any sort of implication that it embodies the identity of our singer.

This EP manages to be arch and witty without ever actually seeming arch and witty. There’s nothing of the superior irony in which a great many groups tend to wrap themselves these days. If ever artifice and cleverness can seem really sincere and uncontrived it is here, which I suppose is an odd concept and a somewhat concealed compliment.

He cites his heroes as the likes of Jarvis Cocker and Jacques Brel and the like, which makes good sense, although the pace of the music never really pushes out of third gear unlike some of their stuff. Tracks like All-Stars and Josie are still growing on me to an extent as well, so I am not wildly in love with the whole EP, but the Brel cover Next! and songs like Variety and One of Many are absolutely superb straight from the first listen. The other two are making better friends with my ears on every listen too, so I really recommend you pop over to his MySpace page and buy yourselves a copy, because I really doubt you’ll be disappointed.

Richard Godwin – Variety
Richard Godwin – Next!

A friend of mine is suffering from an appalling time trying to find a job, and it’s hard to offer sympathy in that kind of situation, but I have been through this before, so I do have some idea. It took me almost a year to get my first job in what I trained to do and in that time I went through all sorts of stages of despair, vitriol, depression, rage, apathy, grim determination and all sorts of others.

At first I couldn’t even find where to even apply for jobs I could do so I ended up applying for dozens that I was neither all that equipped to do nor all that interested in, and I think it showed badly in the interviews.

Even when I eventually did find places I was qualified to work they would invite me to interviews, tell me how brilliant I was, and then say ‘Oh well, really we need someone with at least one or two years’ experience’ to which I just once replied ‘Well that’s interesting, because it says on my CV that I am a graduate with no experience, and just imagine – if you’d read it then you could have saved yourself all this time’.

Then, when I did get my first job it lasted only eighteen months, during which the 11th September attacks took place and the dotcom bubble burst. The result: redundancy. It took a further six months to get a job after this one, during which I was offered interview after interview and showered with compliments and never given a job. Worse, it was always ‘yes, really loved your stuff, we’ll be in touch some time next week’, then they never were and I ended up having to spend two weeks chasing them for the inevitable ‘thanks but no thanks’ that I by then knew was coming. Often it would be accompanied by ‘well we really need someone who can use Pro/Engineer software’. Again, even cursory glance at my fucking CV would have told them that I couldn’t use fucking Pro/E so why the fuck were they interviewing me in the first place? ‘Recreational interviewing’, I came to call it.

Then, whilst I was trying to move from London to Edinburgh so Mrs. Toad and I could be together, similar stuff started to happen – for almost a year. There are so few jobs in what I do up here that I ended up applying for a few too many that, although I could have done them, I didn’t really want. Again, the compliments flooded in, but no fucking job offers. And I developed a new hatred: recruitment fucking consultants. Honestly, what the fuck fucking use are these parasitical cunts? They’re like fucking estate agents in slightly more dingy suits. They have no understanding whatsoever of any of the jobs they are trying to fill, they have not the slightest shred of basic manners, they are fucking vacant as an empty barrel, and they seem to have the memories of fucking goldfish because they never, ever do anything they say they are going to. Burn the fucking lot of the cunts.

HR departments are no better. Name me a single place that couldn’t just take its HR department, fill it with angry bees, seal up the doors, and in doing so signally improve the efficiency of their business. They are worthless fucking leeches who achieve nothing, have no skills, not a fragment of understanding of the business in which their company is engaged and do absolutely nothing but hold regular meetings to explain to everyone what a crucial job they are doing. Burn them; all of them.

Frequently when job-hunting you have at least two layers of these vacuous fuckwits in between you and the person actually doing the hiring – the one who actually has the faintest idea whether or not you can do the job in question. I actually applied for a job once where the department doing the hiring went to their HR department, who went to an outsourcing consultancy, who hired a recruitment consultant who put an ad on a website, whose ads were aggregated by another website, via which I applied. Do the people who purchase products from this company know what an incredible number of worthless, talentless, pointless paper-shufflers the price of their medicine is supporting? I doubt it. Thank goodness for the efficiency of the free market.

If you think I am being harsh on HR people, try this quote from Luke Johnson, writing in the Financial Times earlier this year:

“HR is like many parts of modern businesses: a simple expense, and a burden on the backs of the productive workers”

Random internet ranter? No, he is on the Times Power 100 List and apparently masterminded the acquisition of Pizza Express before the age of 30 and is now in charge at Channel 4.

So Lizzie, I have every sympathy, really I do. I do have a pretty good idea what you’re going through, and believe my I would flay, fillet and barbecue these self-important, parasitic whores in a heartbeat given the chance. Nae brains, nae skills, nothing to offer; just fucking pointless the lot of ‘em.

The Dead Kennedys – Take This Job & Shove It

This is one of the reasons I am adamant that as long as I possibly can I will read, listen and respond to anyone who emails me with a copy of their music. People seem, when they are in a position to give or deny someone something they want, to turn into patronising, arrogant cock-smokers. They come out with shit like ‘Well, what you have to understand is..’ or ‘Well, I’m just so busy…’ or they just seem to take masturbatory pleasure in ignoring you, condescending to you and generally treating you with such completely meretricious attitudes of superiority that it makes me want to urinate in their ears while they’re sleeping.

I am not doing anyone a favour by listening to their music, and if I ever start acting like it, please someone punch me. A polite email saying thanks is not beyond anyone. Delete the emails from PR companies by all means, but if someone takes the time to contact you themselves with their stuff listen, decide and get back in touch. Show some fucking graciousness, and some manners. Being in a position of power over anyone says nothing about you as a person, and it does not make you better than anyone. And just because you’re finally in that position does not under any fucking circumstances mean that it is in any way ‘your turn’. You do not have to teach anyone ‘the way it works’ and being a cunt to someone is never a favour because ‘that’s just what they’ll have to get used to in this cut-throat industry’. I am not suggesting you should necessarily lie to someone, and I am sure that there will come a point where I can’t answer everyone personally, but if you are unnecessarily unkind or impolite or hurtful to someone who is asking something of you, then you are cunt, pure and simple.

Did I miss anything?

Frightened Rabbit – Be Less Rude

Aaagh, Billy was right, this is bloody awful.  Damn him! I have been kind of nervous ever since I read his review, and also really wanted to be sure that his rather scathing dismissal didn’t overly influence my own opinions.  Can I promise that it hasn’t? Probably not, but I don’t think so; this is rubbish.

My relationship with Mr. Adamson has always been a bit hit and miss anyway – I really didn’t like King of Nothing Hill, his last album but one, but then the one inbetween that and this was terrific, so I thought that perhaps it had been an aberration.  Sadly, no, as a lot of the failings of Nothing Hill rear their heads once more on this record, and it is pretty simple to explain: no bite, no zing, no swagger, no sex, no menace, no simmer, no fucking balls, man!

I know that may not be all that informative, but that’s about all I can really say.  It’s all that really needs saying.  Cinematic jazz noir with some really salacious energy to it fucking brilliant, and this lacks that quality so plainly there is really no avoiding it at all.  Sorry.  Crap.

Barry Adamson – Straight Til Sunrise
Barry Adamson – Psycho_Sexual

website | hype | buy

This week the Edinburgh gig scene gathers pace slowly, but by the end of the week it’s going great guns, culminating in a weekend of Triptych splendour that will be the last of its kind. I think there’s pretty much bugger all going on today and tomorrow, but Wednesday is busy and it just gets better after that.

This week also represents the last ever Triptych Festival, which used to so splendidly showcase experimental and interesting music around Scotland. I didn’t like a lot of what they put on, but occasionally they came up with some gems, and this last one is no different, with the gorgeous Alela Diane headlining the Bongo Club on Sunday. And she, ladies and gentlemen, will be sticking around to record the next Toad Session on the Monday. I am so fucking chuffed about that I could do a little dance!

Wednesday 23rd April, 2008: Angus & Julia Stone & Paris Motel at Cabaret Voltaire.
I’d not describe Angus & Julia Stone as any better than decent, but Paris Motel are definitely worth seeing. They’ll be playing with a pared-down lineup and I think the best way to describe them would be as the house band on the Marie Celeste. Spooky and gorgeous.
Paris Motel – City of Ladies

Wednesday 23rd April 2008: Super Adventure Club at Henry’s Cellar Bar.
I know next to nothing about these guys, and apparently they are pretty new on the capital’s music circuit. I’ve had a bit of a listen to their MySpace page though and they sound pretty good to me: slightly spasmodic, experimental indie but with a slightly more acoustic bent that a lot of other stuff in this sort of territory.
Super Adventure Club – Built in Redundancy

Thursday 24th April 2008: Boyfriend/Girlfriend & Down the Tiny Steps at the Voodoo Rooms.
You all know how much I like the Tinies’ electronic pop stuff, and Girlfriend/Boyfriend are also well worth checking out. They’re quite standard indie, but I like ‘em nonetheless.
Boyfriend/Girlfriend – The Greatest High

Thursday 24th April 2008: The Un-Americans & Found & Frightened Rabbit & Withered Hand at the GRV.
Two of Scotland’s best bands, an Edinburgh favourite and a group I’ve never heard of. The Un-Americans have something of a dense, dirty blues sound which is rather promising, and I’ve never heard of them at all so definitely worth giving a go. Found and Withered Hand you know all about, and of course Frightened Rabbit have their new album Midnight Organ Fight to promote.
The Un-Americans – Jericho (Bootleg)

Friday 25th April 2008: Meursault & Fox Gang & Jesus H. Foxx (acoustic) at Henry’s Cellar Bar.
You know I love Meursault, but Fox Gang sound really rather good too and I’ve never had the chance to see them live. Provided I can stay sober enough in the pub after work on Friday, this week could be the on where I finally put that right. Their stuff sound quite mod-like at times, and has a good, funky beat underlying much of it and of course, most importantly, some bloody good tunes.
Fox Gang – White English

Sunday 27th April: Alela Diane & Michael Hurley at The Bongo Club.
Triptych may be no more, but they’re going out with a band here. Alela Diane’s Pirate’s Gospel was one of the loveliest albums of last year and I can’t wait to hear her fragile, bluesy folk live.
Alela Diane – Pieces of String

After my difficulties with the Web Sherriff last week a few people left some angry posts about them being bastards and so on, and I kind of got stuck in myself, accusing them of living in the 20th Century, which is fair enough I think.

However, I think it’s time someone actually stood up for Web Sheriff.  Wipe the coffee off your monitor, yes, I am serious.  Now, I am not stepping back from accusations that they are foolish dinosaurs desperately clinging onto an outmoded way of doing things and actually are entirely failing to protect the bands they represent.

But in their favour, unlike the RIAA before them, who genuinely are a malevolent bunch of dishonest, vicious whores, they actually don’t do anything all that bad apart from get in touch and ask you to take songs down.  Now this is frustrating as hell, and it winds me up because I take this blog quite personally, and having one of their notices on your site is a bit like finding an uninvited guest in your living room and makes you react angrily.  But I have received similar emails from managers of small bands like The Dodos and The 1900s and complied immediately as well.  Now, these emails were better worded and didn’t carry a thinly disguised legal threat, which helped, but the upshoot is the same: please take that song down as we don’t want you giving it away for free.

I even, ludicrously, got one from a group no-one has heard of, asking me to take their song down.  Manchester’s Modernaires are a terrific group who I’d love to feature more of, but the last time I did I was contacted (by their manager I think – I don’t really remember) informing me that they had signed some sort of release deal with a label or someone and that this deal included internet exclusivity.  Now for a group that small to effectively forbid internet word of mouth advertising is, in my opinion, completely and utterly insane.  Stupid, blinkered, self-defeating, and so utterly indicative of someone, somewhere completely failing to understand how the internet works, that it made me laugh and cry at the same time.  But I took the songs down – of course I did, why wouldn’t I?

Now the Modernaires scenario arises, I would guess, from the label they are dealing with desperately trying to scrabble for more pageviews.  There is an attitude at the moment that pageviews constitute clout, and to a degree I would agree with this, and that for all I don’t have much capital here at Song, by Toad, the perception is that I in some way ‘own’ a particular audience.  I have my doubts about this, but I am guessing that this bunch simply want to drive traffic their way, and have decided on a stupid way of going about it.

But if you think they’re being totally unreasonable, consider this: as a blogger plugging, say, someone’s new 7″ single would you agree with me if I decided not to make the single itself available for download as part of the review?  I wouldn’t do it myself, because I would want to encourage people to go and buy the thing.  In the days when most people no longer have record players this may not be a particularly worthwhile stance, but I would feel wrong making it available.  So I am not entirely disagreeing with the substance of the Modernaires’ management, just the way they actually put similar instincts to my own into practise.

In the case of the REMs and Ranconteurs of this world, the statement is more directly dismissive: we do not want or need your publicity, your discussion or your interest.  Fair enough.  Maybe it’s more nuanced than that: as much as we appreciate your publicity, discussion and interest, it comes with the inherent (debatable, but not spurious) drawback of making almost our entire record available for nothing on the internet, and we want people to buy the records instead.  In the case of the Dodos, 1900s, and the New Pornographers, when they have contacted me (the latter via Web Sheriff) they have all said ‘we would prefer it if just these particular songs were made available as preview songs’, which I actually think is completely reasonable.

In the case of REM and the Raconteurs, there was no such thing, although there were other preview options available via Facebook streams and so on, but if I am being inflexible in terms of how I post music – no streams or other shit like that – it is a bit hypocritical to pull a face that they are being equally inflexible in how they publicise their music.

And lets not be disingenuous here, there is a perfectly reasonable argument of exploitation to be made.  When I post songs by The Raconteurs, Radiohead, REM, whatever, my hits do increase.  As the pageviews are the only currency in which I can really trade, this means that it can be argued that I am using their big name to increase the value of my own enterprise whilst offering very little in return.  As I said at the time, they don’t need my review in particular, and neither do you.  There are millions out there.

They have no obligation to value what we are doing here, and I am not stupid enough to think that what we do is in any way a benefit for groups of that size.  They are well beyond needing the approval or even acknowledgement of anyone at this level.  Even small groups have no obligation to want to be on these pages – that’s just arrogant.  I am writing about music because I like it, for my benefit, not entirely for theirs so why should they feel any obligation to participate?

As I said, the malevolent tone and fairly explicit threat of Web Sheriff requests in the middle of a small time, personal website are jarring and a little scary.  They are making it quite clear that they could sue if they wanted to, and as a result we react with understandable hostility.  But they aren’t making requests that other, smaller enterprises do not and what they are requesting may be considered misguided, but it is not entirely unreasonable.

Effectively a great many sites like this and audiences like us are using blogs and small sites as away of actively turning our backs on the (capitals!) Music Industry Behemoth.  Groups like REM and The Raconteurs are part of that behemoth, almost by default by virtue of their size and popularity.  So if we are turning our backs on their world then it is a little bit churlish to take exception when they in turn do not feel obliged to grovellingly accept what crumbs of approval we actually do disdain to toss in their direction.

As to the songs, well I’m not sure how these are at all relevant, but they have been knocking around my inbox for a bit and I thought it was time someone heard them.

Teitur – Catherine the Waitress
Tobias Froberg – Blissfull
Tafra – I’m Sorry Brakne-Hoby

I assume you all know Jacques Brel, one of very, very few songwriters to write in a language other than English to actually be able to penetrate Western cultural awareness. In fact, I read here that Mojo magazine conducted a poll of British and American songwriters in 2000 and apparently Brel’s Ne Me Quitte Pas was the only non-English song to make the resulting list of the Greatest Songs of All Time.

Jacques Brel – Ne Me Quitte Pas

Given the fact that his songs have made such an impact on their own merit, and given that apart from writing some songs in Flemish, he never strayed from French, it seems a little odd to me that absolutely everyone who covers Jacques Brel seems to do so in English. Only such luminaries as Nina Simone and, erm, Sting have actually sung his songs in French, which seems amazing.

Nina Simone – Ne Me Quitte Pas

Artists are snobbish bastards so I am a little surprised that so few people have managed to eschew the grand pretension of covering someone so enormously credible in his native tongue – and not just any native tongue, the eminent cultural bastion that is French, no less. Is that too cynical? I really doubt it.

Secondly, respect for the integrity of art is quite important to people, in particular other artists, so I am a little surprised that people have been so quick to accept such a cavalier attitude. Mind you, most Brel translations are actually contemporary with his own work, and people seemed to be a little less precious about that sort of thing back then (in the music industry at least – don’t say that to a modern film-maker). Perhaps their age gives them a peculiar sheen of credibility, something I imagine they’d lack if done today.

The most popular translations are the Blau-Shuman ones, but Scott Walker seems to use those of Rod McKuen in his own many Brel covers – brought together brilliantly in Scott Walker Sings Jacques Brel. A superficial glance at the actual work makes them look a little flimsy though.

Scott Walker – Mathilde

Wikipedia cites this McKuen example, which is pretty awful:

“Moi, je t’offrirai / Des perles de pluie / Venues de pays / Où il ne pleut pas” [As for me, I'll offer you pearls of rain that come from a country where rain never falls].
Translates as:
“But if you stay / I’ll make you a day / Like no day has been / or will be again.”

Woeful.

Brel is famous for his lyrics, too. Evocative and sharp, bitter and cynical at times, and an absolutely integral part of his work. I keep thinking of the Asterix books and how the translation managed to remain so inspirationally true to the original humour. Never mind the books themselves, the actual translations were a serious master work in their own right. It’s sad, as much as anything, that despite large numbers of covers of his songs, almost no-one seems to have taken the time to actually put the work into the lyrics as well as the music. And as I said, this is not an industry that lacks for monumental acts of self-aggrandising pretension artistic ambition.

I can understand, grudgingly, why people insist on singing translations – there’s no point singing songs by someone famed for his acerbic wit if your audience can’t understand a word – but why people are paying so little attention to which translation they use and why is a little disappointing.

Professor Arnold Jonhston is the only man who has translated his stuff to a standard acceptable to Brel’s widow, and has recorded an album of these translations. I can’t find it anywhere, but I have to say I am as dubious about a musical work by an academic as I am about a literary translation by a musician, although if anyone wants to mention Toms Stoppard and Lehrer here they should feel free. I’d like to hear that album though, if anyone has any suggestions.

Other than that, I’m not really sure where I’m going with this. It was all started by Richard Godwin sending his music through to me for a listen. He has a lovely style that is somewhat similar to Jacques Brel, and he covers Brel himself. It’s not the same translation as Scott Walker used though, and I don’t think I recognise it at all. Anyhow, I started listening to some other Brel songs and it all snowballed from there really.

Right. I’m off to the pub. Have a good weekend, Toadlings.

Richard Godwin – Next! (Brel cover)
Jacques Brel – Au Suivant
Dusty Springfield – If You Go Away
Jacques Brel – Les Bourgeois
David Bowie – Amsterdam

Jacques Brel on Amazon

It’s not often that things make their way straight from the breathless email of a marketing monkey to my inbox to the blog without a lot more time spent letting things sink in. In this case however I’ve been curious for news about this project for some time but always assumed it would be one of those major label projects that would bring the Web Sherriff down on my head like a sack of spanners.

You can imagine, therefore, my surprise and delight when an email not only plugging this band, but also containing two promotional mp3s officially sanctioned the the Enforcers of teh Internetz, landed in the Toadly inbox.

The Last Shadow Puppets are a side project of Miles Kane from The Rascals (who?) and Alex Turner from the Arctic Monkeys, and inspired by a mutual love of Scott Walker and early Bowie. The album itself is recorded with a full 22-piece orchestra, so quite how representative these acoustic versions will be is anyone’s guess, but it’ll be out on Monday (except in the States – ha ha!) so you can judge for yourselves.

I tend to waver on the Arctic Monkeys. They have some great songs, but the last album didn’t really excite me all that much and, if I’m honest, the first one took me quite a while to get into as well. Alex Turner is undeniably a really gifted lyricist though, and from the interviews I have read seems like an intelligent, inquisitive fellow so I have high hopes for The Age of the Understatement. Turner seems to have been developing an interest in 50s rock ‘n’ roll recently: something of an affinity for the same influences that inform Richard Hawley. Basically, this is a good thing, and if this project gives him the chance to throw off the shackles of the often mealy pub-rock of the Monkeys then this can only be good news.

The Last Shadow Puppets – My Mistakes Were Made For You
The Last Shadow Puppets – The Age of Understatement

My latest excursion into the murky waters of The Waiting Room saw me praising big famous bands for a change, really rather ironic given the hassle talking about those same bands has caused around here recently.  Would I have done the same segment in hindsight?  Would I fucking bollocks!

The Waiting Room, Wednesday 16th April 2008

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It’s weird, I feel something of a tit now for bigging up the bands that then bring down teh haterz, even though I know it’s nothing to do with the actual bands themselves.  Or at least I should bloody well hope it’s nothing to do with the bands.  Odd how the behaviour of someone employed by someone who employs someone to look after a group can make a band look quite so bad, really.  Guilt by association.  I know the band could quite easily order off the attack dogs (would a really big label even pretend to listen?) or publically condemn this sort of bollocks, but why would they?  They make music, not politics.  Although REM are pretty politically involved so you would expect them to have a stance on all this web madness one way or another.

Hmm, well that’s another ramble for another day.

It’s a pig themed week for some reason, so I thought I’d lob these little gems into the mix just for fun.  The Sparklehorse song in particular is something of an enormously noisy, fuzzy masterpiece.

The Beatles – Piggies
Sparklehorse – Pig

The 28th Toadcast is all about the Fence Collective. People who read this site regularly must know them, I assume, but I’ve been intending to do this post for a while as they might be my favourite label in music at the moment.

After Kenny Anderson’s last band fell apart about ten years ago or more, he started releasing his own stuff on hand made CD-Rs under the name of King Creosote and between him and his brothers and some of the other local musicians he’d grown up with in Fife, a collective started to form which has grown and grown. Now, thanks to the spotlight cast their direction by Kenny’s brother Gordon’s involvement with The Beta Band and The Aliens, the success of King Creosote and James Yorkston, and the rising of KT Tunstall (also a Fence alumnus, believe it or not) Fence Records have turned into one of the most beloved record labels in the country.

And actually, I think their approach of building a community rather than just pimping product might just have the potential to make them one of the success stories of Music 2.0, although that’s another story. So this podcast is all about Fence Records and the bands I have discovered due to their hard work, and why I think they’re great. What an arse-kisser I’ve turned into.

(Warning: I’m drunker than I sound and there is way too much talking in this one.)

Toadcast #28 – The Fencecast

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01. Skuobhie Dubh Orchestra – Our Last Needle (03.17)
02. King Creosote – You’ve No Clue Do You (09.21)
03. James Yorkston & the Athletes – St. Patrick (16.33)
04. Art Pedro – Joanne (21.19)
05. MC Quake – It Feels Good to Be In Scotland (27.57)
06. Down the Tiny Steps – Handstand (36.44)
07. Adam Beattie – Bank Street (46.39)
08. Player Piano – Mercy (AC Mix) (49.35)
09. Candythief – A Good Day (56.47)
10. Rob St. John – Tipping In (60.06)
11. Adrian Crowley – Star of the Harbour (65.11)
12. Eagleowl – This is Not Your Lucky Day (67.47)
13. OLO Worms – Fingers & Thumbs (77.04)
14. HMS Ginafore – You Built a City Inside of Me (85.41)
15. Gummi Bako – She’s the Carrot & I’m the Stick (87.44)
16. The Pictish Trail – Words Fail Me Now (94.39)
17. Rich Amino – Chicken & Chips (99.02)
18. Sara Lowes – Uniform Days (104.22)
19. Magic Arm – Outdoor Games (108.11)
20. King Creosote – I’ll Fly By the Seat of My Pants (115.32)