Song, by Toad

Archive for July, 2009

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Toadcast #77 – The Grouchcast

The Grouchcast

Sorry, I know this is going up late, but I have been working on the promotional material for the Jesus H. Foxx EP release.  There’s a fair bit still to be done, but for the time being I am cautiously optimistic that it is going to look fucking brilliant.  There will be a lot of painting to be done though, so putting the final touches on the thing is going to take bloody ages, but I think it is going to be easily worth it.

In other news, this week’s podcast is a prolonged chat with Euan (of Kays Lavelle, Trampoline, Steinberg Principle and Woodenbox fame) as a way of rounding up the excellent fortnight he spent feeding and changing Song, by Toad whilst Mrs. Toad and I were off gallivanting.  So, rather than make his usual grouchy, joyless comments on posts I thought I might invite him to make his grouchy joyless comments on a podcast.  So he came round and complained and complained and generally sulked his way through the whole thing, which was nice.

Oh alright, of course he didn’t. But it just wouldn’t be fun for me if I didn’t make fun of Euan for being grouchy long past the time anyone else has ceased to find it funny.

Oh stop sulking.  You’re turning into him.  All of you.  Shame on you, people, shame on you.  Cheer the fuck up for God’s sake.

Toadcast #77 – The Grouchcast

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01. Wilco – Bull Black Nova (06.39)
02. The Kays Lavelle – Scars From the City (15.14)
03. There Will Be Fireworks – We Sleep Through the Bombs (27.37)
04. Beerjacket – Father (31.46)
05. iLiKETRAiNS – Terra Nova (39.36)
06. Andrew Bird – The Giant of Illinois (50.10)
07. Finn – The Fourth the Fifth (61.47)
08. Fleet Foxes – Oliver James (65.29)
09. Tom Waits – Temptation (74.12)

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Friday is Going to F You in the A

Beetle

Yes, bitches, this Friday is no mercy day.  Not really sure why, but Yarrrgh and so on.  Actually this Friday might finally mark my DJ debut.  I have to confess that a considerable part of me wants to suggest just taking my iPod and sticking the fucking thing on random, but any committed Music Nazi is always going to be happy to force other people to listen to their choice of tunes, the only real question I have is what the fuck everyone else gets out of it.  So if you want to come along and point and laugh whilst I break other people’s equipment, then Sneaky Pete’s this evening is the place to come.

Mrs Toad is away, you know.  Another week of solitude to endure, and then the silly old bag is home again next weekend.  The street lights have just gone off, indicating morning, I believe.  So what, though.  Fuck you and your breakfast.  I actually don’t think I’ve eaten breakfast in about fifteen years.  It’s pretty fucking dark actually, so I’m a little surprised to see the council decided that tomorrow has arrived.

Erm, so I’m going to be at work with a colossal hangover and an air of desperation, hoping for the weekend.  You, on the other hand, are going to illuminate your day by participating in the Song, by Toad Friday Fives.  I don’t care that you’ve never taken part before, and I don’t care that you might not necessarily have anything side-splittingly witty to say.  That doesn’t matter – just chip in and then go for a pint to celebrate the latest in a long sequence of weekends.

1. DJs – can you name a good one, or are they basically just a hairy version of the random function which takes a shit occasionally?
2. What is your normal breakfast?
3. Hve you ever DJd anywhere other than your own party?
4. Do you actually like the music they play in nightclubs or do you just go in order to drink more and maybe pull some pointless old skank?
5. Who do you think actually does like the music in nightclubs?

The Smiths – Panic

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The Pierces – Boring

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Clem Snide – Your Favourite Music

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The Mountain Goats – Dance Music

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R.E.M. – I’m Gonna DJ

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Pale Air Singers – Pale Air Singers

Pale Air Singers

This album comes from amongst the small avalanche which filled up my inbox while I was away in Italy, and it has taken me a little while to get to it, as I’ve slowly sorted through everything which came my way in June.  Even then, it’s far from a new album to begin with, having actually been released back in April.

The Pale Air Singers are on Flemish Eye Records, who are a really superb little record label (Women, Chad VanGaalen) and this is a collaboration between Run Chico Run and another Flemish Eye band, The Cape May.  Calgary isn’t where I would have immediately thought to look for cracking bands, but this record was recorded both there and in Victoria in British Columbia.

I’ve heard this descibed as cabaret pop, but I don’t really see that.  It’s an indie-pop album, for sure, but the high piano has a touch of twinkle and chime which occasionally almost reminds me of stuff like Peter Gabriel and David Byrne for some reason.  For the most part, though, this record does seem to fit well within the broad, slight eccentric envelope of recent Canadian indie pop – maybe harking back a couple of years to the more sprightly likes of the New Pornographers, although that’s not a great comparison really.

A large chunk of this record is about rhythm, if you ask me.  The piano is off-kilter and can wrongfoot you from time to time, but it is still the heartbeat of a lot of the album, jumping sharply along under the surface.  When it isn’t there, usually on the slower songs, its job is usually done by a slow guitar strum or slightly skittish drum beat.  These more downbeat numbers steer a course slightly away from indie-pop and seem to flirt more with a territory which I would loosely describe as Americana.

There’s something in the harmonies and the guitar, however, which keep this album firmly rooted to indie-pop, to my ears.  The guitar, like the piano, uses that sharp change of direction to nudge at the listener from time to time but it does it in a way which reminds me just a little of slightly more haircutty indie bands – the sort inspired by Pavement – and conspires to keep things pop.  It’s this odd juxtaposition of the trendy with the old-fashioned which I love about this, I think.  The two aspects of the music mesh beautifully, sliding back and forth over one another in such a way that any generalisations you might make in your head about this album are constantly having to change to keep up with the subtly shifting pace of the music itself.

Pale Air Singers – Convict Escapes

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Pale Air Singers – Cubby, He Chopped Me Down

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MySpace | More mp3s | Buy from Flemish Eye Records

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Ortolan

Ortolan

Last week I rather inexplicably received the following email from a young lady called Erica.  It’s about the French culture of eating a rather tiny songbird called an ortolan, and was sent to me with no introduction, no preamble, no how’s-yer-father, not a thing.  The only (tenuous) connection I can imagine is that the practise of scoffing lickle birdies was mentioned briefly in a comments thread months ago, but that’s about it.  And yet the whole thing was too bizarre and too fantastically silly to simply delete.  So, erm, here you have it, readers of Toad, enjoy:

Long considered the pinnacle of gastronomic delight by the French, the ortolan is a protected species after being hunted almost out of existence.  The prized birds can fetch up to €150 (£102) each if sold illegally to restaurants. Diners savour the ritual almost as much as the flavour.  François Mitterrand, the former French president, notoriously feasted upon a whole one at his “last supper” while terminally ill with prostate cancer, concealing his head beneath a napkin in the traditional manner.

Some say the napkin helps the diner savour the aroma, others that it is intended to conceal his greed from God.  The more pragmatic point out that eating ortolan, which is placed in the mouth whole and eaten bones and all, is a very messy business.

France’s League for the Protection of Birds claims ortolan numbers have plunged 30 per cent in the past 10 years, with as many as 1,500 poachers catching an estimated 30,000 live birds a year in the south-western Aquitaine region.  The maximum fine is €6,000 (£4,075), but two of the three poachers caught last year escaped with verbal warnings.  Last week Nathalie Kosciusko-Morizet, the environment minister, declared that enough was enough.  In future, she said, laws passed in 1999 to protect the endangered species would be fully enforced.

Jean-Marc Michel, the head of the ministry’s nature and countryside department, said: “We have brought in reinforcements to increase surveillance on poachers and their traps, and to search suspects’ homes if necessary to catch them in flagrante delicto.”

The move brought predictable dismay. “I find it sad that we can no longer serve ortolan in France, or woodcock for that matter, while it is still possible to eat the latter in restaurants in Britain, Spain and Belgium,” said one leading chef, Michel Rostang.  Restaurateurs caught serving ortolans also face the €6,000 fine and risk jail if they reoffend.  “It is part of our culture which is disappearing,” one complained. “The ortolan isn’t in danger. That’s just a strategy by the ecologists to prevent hunting.”

Officially, ortolan is off the menu at all French restaurants.  But François Simon, the restaurant critic for Le Figaro newspaper, said some would still serve it discreetly – “if you are a close friend of the owner who trusts you to guard his secret with your life”.  Mr Simon, who considers himself fortunate to have savoured the delicacy on several occasions, was enthusiastic.

He said: “It’s absolutely delicious: rather crunchy, with the texture and flavour of hazelnuts.  The bird is about the size of a young girl’s fist. Some people begin with the head, others start with the rear end – there are competing opinions on how best to enjoy them.”  He admitted, however that eating an ortolan whole was “quite monstrous” to watch. “Hence the napkins.”

* How it tastes

Once it has been fattened on millet, the captured ortolan is drowned in armagnac, plucked, and stripped of its feet and a few other tiny parts.  After roasting in a ramekin for eight minutes, it is brought to the table while its pale yellow fat still sizzles, for the diner to take whole into his mouth.  It comes painfully hot, says one who has sampled the forbidden flesh – “but the first taste was delicious, salty and savoury, swiftly followed by the delicate, incomparable flavour of the fat.

“By now it had cooled sufficiently to allow me to get the whole thing into my mouth. It was awkward, but not the struggle I had imagined. I was aware of fine bones but resisted the urge to crunch them immediately.  Still sucking fat, I was aware of the richer, gamier flavour of its innards. I had been dreading this but the flavour remained delicate. Crunching the bones was like munching sardines or hazelnuts. I chewed a long time. When I finally had to swallow, I regretted the end of a very sensual experience.”

What song shall we put with that then?  I know:

Eels – I Like Birds (Live)

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Song, by Toad Summer Party – Saturday 18th July 2009 at the Bowery

Toad Summer Party

Yes, it’s that soon.  And it will be bloody good.  The Bowery is closing over the Festival to be taken over by the usual commerical shitfest which swamps any semblance of culture in this city during August, and next Saturday will be its last night until the Autumn so help us celebrate the amazing work they’ve put in this year in some style.

As it’s the Summer and is allegedly (stop sniggering in the cheap seats) going to be a good one for a fucking change I thought we could all dress in flowers to celebrate.  In fact, I thought it would be such a good idea that I am going to buy a shitload of weird flowery things from charity shops and make you wear them if you turn up without anything floral on your person at all.  So you’d better make an effort, if just to deprive me of the opportunity to embarrass you.

For the open mic bit at the beginning – strictly 7pm-8pm – we have some splendid treats lined up, including a couple of Meursault songs played entirely on the omnichord and a couple of other special musical treats I am currently still working on.  As per usual, if you want to take part in the open mic bit email me on the address shown on the contact page.

For the main bit we have the truly outstanding Yusuf Azak coming through from Glasgow.  I am trying to prize him away from a sexier and more glamorous record label and persuade him to release on Toad so you shower of bastards had better be nice to him.  And headlining, we are going to have Tommy and Ziggy from Found reprising their Toad Session set which they recorded a few weeks ago for us because it was bloody brilliant and I think lots of people should hear it if they possibly can.

So there you go, a finer evening’s entertainment you couldn’t possibly wish for, so get yer jacksies down to the Bowery next Saturday and watch me make a tit of myself because of too much gin once again.  You know it’s bound to happen.

Yusuf Azak – The Key Underground

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Haggard the Listener Group – Anti-Climb Paint

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Bombadil – Tarpits & Canyonlands

bombadil

I have been mulling this record over for some time, because it is something of a progression from Bombadil’s previous, brilliant album. Consequently it has taken me a little time to adjust, and I didn’t want to rush out a review based entirely on my initial reaction, which was the standard precious music fan’s – “Er, different, why, what have you done?”.

Where A Buzz, A Buzz was mental with stomping folky brilliance, this is more of an eclectic pop album by comparison, ringing with piano, harmonies, handclaps and thumping drums. They are an exuberant band, and this sincere enthusiasm is slathered all over this record. Songs go berserk in the middle, much like their live shows, arrangements have all sort of things thrown at them – big choruses, glittering strings, crescendos of rhythmic shifts and all sorts of other things.

At other times, Bombadil are downright sentimental. Reasons and Marriage are really rather sadly lovely. I remember sitting in the middle of one of the most insane and brilliant live shows I’ve ever seen, at Pickathon last year, when they suddenly stopped leaping and prancing around the place and Daniel sat at the piano to play Marriage. Give the kind of set which the song seemed to stop clean in its tracks, I’ve rarely seen a song make such an impact on an audience.

I think that the only reason I think this album doesn’t quite live up to its predecessor is perhaps because the band haven’t quite hit the heights with the most upbeat songs on this one. One Two Three and Trip Out West have their match on Tarpits & Canyonlands, but Cavaliers Har Hum and Rosetta Stone do not, in my personal opinion. Maybe that comes from the the slightly sprawling nature of this record. It’s only forty-five minutes long, but there are fifteen songs and it somehow feels just a little bit messy, in terms of sequencing. Then again, maybe I’m just being silly, because listening through, this is absolutely full of brilliant songs. So Many Ways to Die, Oto the Bear, Honeymoon, Reasons… so much to love. If you ever get the chance to see these guys live, believe me you’d better not fail to take it. And if after seeing them you don’t want to buy everything they have or ever will release, then I’ll eat my fucking hat, quite frankly.

Bombadil – Sad Birthday

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Bombadil – Marriage

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Eels – Hombre Lobo: 12 Songs of Desire

Hombre Lobo

Want a short, short version of this review?  It’s a lot like Souljacker and Shootenanny and it’s pretty good, but not essential.  I still like it though.

Eels have been steadily ironing out their signature sound to the point where the last obvious kinks seemed to have been smoothed off after the release of Souljacker.  That’s the last time I think I can remember them producing music which I felt really surprised me, although that doesn’t mean that they haven’t continued to release albums which I’ve loved.  Shootenanny, despite in many ways feeling a little like Souljacker-lite, was packed full of songs which I still play again and again.  Blinking Lights, their double album from 2005, was touching and gorgeous to the extent that whether or not they were evolving musically all that much, I really didn’t care.

This record has a slightly more contrived character, and it’s because of the concept, I think.  Subtitling it 12 Songs of Desire puts me immediately in mind of the Magnetic Fields.  ‘Oh, like 69 Love Songs, only fewer’ I found myself thinking, somewhat uncharitably.  But, perhaps because that title made me jump to unjustified conclusions, this seems to me just a little like a series of pieces whose expression lacks the kind of spontaneous overflowing of earlier material.

As recently as Blinking Lights I got the impression that the things E was singing about weren’t just ‘topics’, they were things so urgently front and centre in his psyche at that moment that he just had to get them out somehow.  This album, on the other hand, feels something like a topic, rather than an outpouring of thoughts and emotions which could no longer be contained.  Consequently, the best songs seem to be the ones where the music comes to the fore and carries them, which is not always the case with Eels, who can write incredibly simple songs very well simply because the lyrics are so plain and emotional and honest.

In the case of Hombre Lobo that seems to be less the case than usual, and I find myself most liking songs like Fresh Blood and Tremendous Dynamite which are more visceral musical experiences that the songs I tend to connect with when I listen to Eels.  It’s a good album though, punky and energetic, but I gets no more than solid pass marks from me at the moment.

Eels – That Look You Give That Guy

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Eels – Tremendous Dynamite

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Michael Jackson Makes Us All Look Bad

Looney

Musically, I don’t give a shit that Michael Jackson’s dead.  Had he never sung or recorded a note I doubt my life would be any the worse, and as a bonus I would never have had to grit my teeth through those shitty Jackson 5 numbers that were forever being played in godawful student nightclubs during my youth.  So, erm, yes.  Not that fussed, although I accept that a lot of people are fussed and I am not criticising them for their reaction, assuming it’s from a purely musical perspective.  As a friend of mine recently reminded me – I have no idea how similar revelations about, say, Bob Dylan might affect my perception of his music.  Confusion, I think, is the only word that springs to mind.

Michael Jackson was barely about the music, though.  He was about the circus: the madness, the latent racism, the paedophilia, and that bizarre combination of Messiah Complex and twisted self-loathing.

I have never understood why black people weren’t more offended by his desperate attempts to deny that he was one of them.  He turned himself into a simpering, brittle white girl and I personally have heard very, very little condemnation of the racism that seems to me to embody.  Then again, maybe he wasn’t racist exactly, maybe he was just plain nuts.

For a society that villifies paedophilia to the extent that both British and American society do, I am pretty amazed at how little impact Jackson’s dalliances in that vice seem to have tarnished his image.  I have done some very, very superficial research and there seems to be no concrete proof around that he actually did commit acts of extreme sexual assault, although little doubt that he definitely transgressed at the minor end of that sliding scale, so I guess it is possible that he was so spectacularly, childishly naive as to believe that sharing a bed with little boys and plying them with alcohol could possibly be interepreted generously, and that he never actually did anything beyond weird.  Possible.  Just.

It seems, however, perfectly valid to read about the chain of events surrounding his various court cases and interpret them in the following light: that he paid twenty million dollars to ensure that his rape of young boys never made it as far as the courts.  Because of confidentiality orders and the difficulties of actually establishing the truth in such cases, I guess we’ll never know.

But this is where Jackson’s ghoulish face becomes something of a mirror held up to our own society, because given the aforementioned hysteria surrounding the barest suspicion of paedophilia, this whole thing obviously stinks of double standards.  Parents, even after it began to sound suspiciously like he actually was interfering with the boys he invited to his crazy ranch, would still shunt their little darlings into harm’s way.  As I said, it’s possible he was actually much more innocent than it would appear, but fuck me you wouldn’t make such a high stakes bet with the rest of your own child’s emotional life, would you?

So in a world where you’d expect him to be run out of town by an angry mob as if he were a Newport paediatrician, how did Jackson escape?  And how the hell did he continue to have young lads fed to him like some sort of mythical kiddie-fiddling dragon creature?  Well I can only assume it is the human animal’s remarkable instinct to spinelessly capitulate to people in positions of power and influence – the same pathetic instinct which causes us to worship celebrity in its own right, irrespective of its being linked to any sort of perceptible worthiness or talent which might render it legitimate.

Jackson got a remarkably easy ride for what looks for all the world like full-blown paedophilia and was definitely at bare minimum a compulsion to indulge in wildly inappropriate behaviour involving young children.  This was both before and after his death and and it reflects pretty fucking dismally on society that this should be the case.  It reflects even worse when you compare it to the hysterical over-reaction we tend to get in the other direction when the accused person has the naivety not to have taken the precaution of becoming ludicrously famous beforehand.

Is it that Jackson’s evident insanity reveals that we all secrectly know that paedophilia is actually a malfunction of the brain which needs to be treated as a disease, rather than some manifestation of inherent evil in the motivations of the individuals it afflicts?  And that maybe we embark on our paedophile witch-hunts out of some ugly combination of a predilection for mob-violence and a desperate need to elevate ourselves by viciously destroying others?  Just maybe.  Because it was pretty clear, I suppose, that if Jacko was a paedo then it was because he was sick, not evil.  Or was it just because his fame turned us into a society of simpering sycophants who would excuse anything of the rich and famous, partly because they can buy the justice system, but mostly just because they are rich and famous?

Either way, our reactions to the man and his mores doesn’t show us in a very good light at all.

From his perspective, however, I suppose you could just about argue that his death was probably, in balance, a good thing.  He was artistically spent and his soul had been devouring itself for years, a horrifying act of self-mutilation which he displayed to us all whenever we cared to look, in the form of his deformed and frankly cadaverous face.  When I saw that he was dead I was frankly relieved for the man.  Not because he ‘deserved to die’ in any sense, simply because I could see no evidence that had he lived any longer, be it another five years or another forty, that his life was going to do anything other than get steadily worse until even if he wasn’t actually dead yet, he quite probably would wish himself so.

Fairport Convention – Crazy Man Michael

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Live in Edinburgh This Week – 5th July 2009

Leith

Baaaaaaaaaaart HELP!  Are there really only two gigs worthy of a mention on in Edinburgh this week?  Surely not.  Where’s someone with some actual knowledge when you need them?

Mrs. Toad has left town this morning, heading for Australia.  She’ll be away for a fortnight this time, which is the longest we will have been apart since I moved up from London so you can expect me to become downright cranky by the end of next week.

In fact, if last week’s prolonged sulk is anything to go by, you can probably just expect me to be cranky in general, actually.  Nah, I’m over that though, I’ve pulled myself together now so there will be no more messing around, promise.

Tuesday 7th July 2009: Meursault at the Bowery. Gig Cancelled, Apparently.

Does it sound a bit stupid to say that I am friends with Ruth and Jane at the Bowery, and Song, by Toad Records is Meursault’s label and yet I know nothing about this whatsoever?  I suppose it does really.  While Meursault are sticking more closely to Pissing on Bonfires/Kissing With Tongues when they’re on the road, in Edinburgh they’ve started to introduce more and more songs into their set from their (apparently very loud) second album.  This record should be out early next year, and should contain songs like Crank Resolutions and Sleet, which anyone who’s been to a recent show should recognise.

Friday 10th July 2009: Sparrow & the Workshop & Randan Discotheque play This is Music at Sneaky Pete’s.

Unless Sneaky Pete’s get a lot of internal re-jigging done in a very short space of time, this is pretty likely to be an acoustic night.  This does not please the organisers, who will be rather taxed to put on a club night where the music is nice and quiet, but actually I would rather like to hear Sparrow & the Workshop play an acoustic set, so I’m rather looking forward to it.  Apparently, I will be doing some DJing, so you might want to take advantage of the gaps between bands to nip out for a cigarette or go to the toilet for ages or something like that.
Sparrow & the Workshop – My Crime (Toad Session)

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Toadcast #76 – The Presscast

Presscast

I recently did an interview with Billy from The Scotsman’s Under the Radar blog (amongst other venerable organs) which took the form of an interesting chat about the current tension between  bloggers and professional journalists.  He has played off my opinions against those of his friend Mike Diver, who is currently the online editor for (the excellent) Clash magazine.  The whole thing can be found here, along with plenty of comments from Ally and Milo, professional writers from around these parts, and myself and Tart, on the side of the bloggers.  The comments on that thread make for some rather interesting reading in themselves, I have to say.

It’s an interesting debate, frankly, and one which, as a blogger with aspirations, as opposed to someone who is happy to simply chat for the sake of it, I have applied a fair deal of thought to.  Ultimately, though, I think it is something of a false dichotomy: some of the best reporters keep blogs as ways of expressing themselves outwith the constraints of the editorial policy of whatever rag pays their wages and a lot of the best bloggers end up parlaying their writing skills into professional careers in journalism.  And of either side there is a vast amount of detritus, professional and amateur.

So, yes, the Toad once again holds forth passionately on subjects he knows far too little about and may in general be making a fool of himself once more.  The, erm, songs are good though.

Toadcast #76 – The Presscast

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01. Billy Bragg – Which Side Are You On? (03.17)
02. The Decemberists – Cautionary Song (Live) (11.03)
03. Jens Lekman – No Time For Breaking Up (14.09)
04. The Meteors – Out of Time (22.21)
05. Franz Ferdinand – Darts of Pleasure (32.47)
06. The Dead 60s – Horizontal (35.17)
07. Sleepy Horses – Lubbock Love Song (42.27)
08. Eels – I Write the B-sides (52.05)
09. The Replacements – Unsatisfied (62.30)
10. David Cross – My Kids are Amish (68.09)

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