Song, by Toad

Archive for May, 2010

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Toadcast #123 – The Drivecast

Having spent the week driving Loch Lomond around the country I figured that some sort of driving-themed nonsense would be in order for this week’s podcast.

Driving music (NOT in the Top Gear sense) tends to stick in your head, probably because when listening to it there is nothing else to do but sit and absorb the whole album.  I know most musicians would probably blanche somewhat at the idea of having their work enjoyed over the thrum of wind noise, tyre noise and a grumbling engine, but a long drive is still probably one of the best places to listen to music.

Oh, and the ‘character’is supplied by all the fuckers outside having fun while I DO FUCKING WORK FOR THE ENTERTAINMENT OF YOU UNGRATEFUL INTERNET BASTARDS.  Erm, sorry.  I’m tired.

Toadcast #123 – The Drivecast

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01. The Twilight Sad – The Wrong Car (01.53)
02. Bear Driver – A Thousand Samurais (09.12)
03. The National – Terrible Love (14.37)
04. Band of Horses – Infinite Arms (19.11)
05. The Wedding Present – Drive (25.07)
06. The French Wives – Me vs Me (28.54)
07. Manfred Mann’s Earth Band – Davy’s on the Road Again (Live) (35.01)
08. Foon Yap – Gabriel Moody (41.49)
09. The Goodnight Loving Supper Club – The Pan (50.14)
10. The Men They Couldn’t Hang – A Map of Morocco (54.27)

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Friday’s Out For Summer

I was round at Ali’s yesterday evening planning our radio show when the text came through from Matthew asking me to put together today’s Friday Five.

We’re not quite sure where, speaking geographically or spiritually, Matthew is at the moment. He’s on the road with Loch Lomond, and it sounds like things are getting a little freaky.

Naturally, being as she was on hand so to speak, and because she’s a creative little devil, I asked Ali to help me compile today’s Five. So being as tomorrow is the last edition of our show before the live shows on Fresh Air go off the air and the robots take over for the summer holidays, we got round to talking about our comparitive antics on the last day of school.

It goes without saying that Ali’s tales were much, much worse than mine. I remember something to do with forcing a helpless young chemistry teacher to give her piggy back rides into town before my brain was forced to turn away from the sheer horror.

There are no MP3 files to click and listen to this week, as I can’t get onto the official Toad server to host the files there, and public file hosting sites are frankly shit for this purpose. Just too slow and flaky. I can, nevertheless, type in five questions for you..

1. The last day of school is always a time for high-jinks and shenanigans. Describe the high that you went out on..

2. What time did you get to the pub on the last day of school?

3. What shocking staff scandals did you hear of? There’s always some juicy gossip about someone having a bunk-up in the stationery cupboard..

4. What did you get in your GCSE results? (Or equivelent age-16 end-of-compulsory-education exams)

5. If you could pop back for five minutes in a time-machine, what would you tell your 16-year-old self on the last day of school?

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Band of Horses – Infinite Arms

I don’t know what I expected from this album, be it more of the same, a bit of a detour, softer, harder or angrier.  It has managed to not quite be it, though.  In fact I would go so far as to say that I am finding it very difficult to get any kind of handle on this album at all.

It’s very characteristic, that’s for sure, and doesn’t really stray that far from their well-established template.  Few bands do, of course, from one album to the next, so I guess I shouldn’t be surprised that this is more a gentle evolution that sudden swerve.  There was a mononous thump to early Horses stuff, however, which carried a kind of menace and is now almost entirely absent.  They had a sort of glittery, shimmery surface with a sense of deep-running foreboding, but that inner malaise seems to have seeped away from their music a little and it is the poorer for it.

In general though I am enjoying this album.  There are definitely a few soft-round-the-edges moments which I personally find a little lacking in bite, but there is also some cracking stuff here.  The hypnotic, Midlake meets early Interpol guitars are largely gone, though, and the overall vibe is a lot more relaxed, as if that frantic urge to make themselves heard had calmed down and they are a little more at ease with the world these days.

That doesn’t always make for the best music though – I mean, you could very easily and not unreasonably just dismiss it as ‘losing your edge’ – but I wouldn’t really level that accusation at this record.  Until Dilly.  I really, really do not like that song at all.  It’s part of a really downbeat triptych in the middle of the album which would be lovely, but for the really nasty FM pop-lite vibe of that song, which infects everything around it with the impression of squishy suburbia.  It distracts from the excellent title track and the lovely Evening Kitchen, and generally just seems to charicature the overall changes in atmosphere which seem to bog down Infinite Arms.

It’s an odd thing to get fixated upon, and I am probably being an idiot, but I am not convinced by this record, despite the fact that some of the songs are really good individually, and I find myself blaming the likes of Dilly and Blue Beard and Compliments and their sort, which just seem to highlight some of the things I wish the band hadn’t lost since their early records.  Because I suppose the ultimate question for me is whether or not, having bought their previous two albums, I honestly feel that I would rush out and buy this, and I am not sure that the answer is yes.  Factory and Laredo are ace, but I don’t think there is much of this that I would call compelling.  If these guys were an unknown band would this record be enough to get their name out there to a wider audience?  Well, maybe, but I do not think so.

Band of Horses – Factory
Band of Horses – Infinite Arms

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The Internet Needs Some Sensible Fucking Laws, Please

I don’t know how many times I have to go on about it, but the way digital law is shaping up in the Twenty-First Century is pretty scary.  It’s really not difficult to explain why it’s so stupid, either: we are basically looking at a world of outsourced law enforcement, with the enforcement put in the hands of one of the interested parties.  Does that need any more explanation as to why it is so hilariously, surreally idiotic?

The other aspect, of course, is that with this outsourcing the law is effectively being policed on the landscape of corporations’ terms and conditions, with no semblance of due process, and no obligation to their customer whatsoever.  This means that if Virgin Media decide to disconnect me from the internet because they have received complaints about illegal downloading of copyright material on my account they can do so and I have no recourse – they can of course choose to provide their service to whomever they choose.  However, given my whole business entirely depends on access to the internet, I’d like to be pretty fucking certain they made some effort to establish the veracity of any accusations they used as a basis for depriving me of it.

Similarly with blogs, of course.  Scottish music blog The Pop Cop was recently summarily deleted by Google on the basis of duplicated and factually inaccurate accusations of copyright violations.  The way the Digital Milennium Copyright Act works (and believe me, our own Digital Economy Bill is worse) the accusers are immune from punishment for making fallacious accusations.  Also, Google is immune from prosecution if it simply removes the material in question, irrespective of whether or not the accusations have any merit.  And the person whose work is subsequently vandalised has absolutely no legal comeback whatsoever precisely because the DMCA law is specifically designed to remove actual law enforcement bodies from the process of enforcing the law and putting it into the hands of massive companies with a major vested interest in the dispute itself.  Surely absolutely any lawyer in the land would laugh their arse off at anything so obviously corrupt.

So the Pop Cop was removed for attracting repeated, and inaccurate accusations of copyright infringement despite never having the opportunity to point out that these accusations had no merit. This is guilt by accusation, new internet laws are full of it, and it is a seriously important problem for our law-enforcement because suddenly all concepts of right to due process of law and the assumption of innocence have been swept away, all because a few major media companies are terrified of the internet and too lazy to innovate to engage with it.  This has very far-reaching social implications indeed and we should all be strongly aware of what it represents: major companies want the right to punish us outside of the law whenever they see fit, and without consequences for themselves.  That is fucking scary.

And let’s be honest, this is not about deleting some fourteen-year-old’s diary (although that might actually attract more sympathy and highlight the act of cultural vandalism being perpetrated here) this is three years of actual work supporting the music industry of Scotland – the very thing he is being attacked for undermining.  This is the bit that is just fucking ridiculous.  Labels like mine do not have access to the BBC, we don’t have access to Q or the NME and we can’t get our bands on Jools Holland or the bill at Reading, and we can’t afford to fly them to the States to do a tour, so independent, not-for-profit bloggers and podcasters are the lifeblood of our business model.  Without the opportunity to reach a wider audience which these sites represent we have no way of getting our artists’ music out there, and we are fucked*. You are not ‘protecting music’ by silencing its most passionate champions, you are doing just as much harm as the people who you think you’re fighting, if not more.

Imagine if someone accused a painter of copying a few of their pictures.  You might investigate their work to see if the accusation held water, and you might perhaps force them to acknowledge the debt to the other painter, and you might even compel them to hand over a percentage of the profits they made from that particular work.  What you would not do is turn your back and allow the accusing party to go to their house and destroy every single one of their other paintings on the assumption that they wouldn’t make such an accusation if it were without merit.  And yet, because this is the internet, that is considered acceptable, because let’s be honest this is exactly what has happened to Jason.

Now Google are partly to blame here, but only partly.  I have no idea why multiple complaints has to trigger the deletion of a blog rather than a review with the owner of precisely what the situation is, although I presume that simple man-hours would be the barrier.  But if you think that spending a couple of hours of your time establishing whether or not someone is a criminal is not something you can be arsed with, then you have serious problems.  It is not hard at all to establish the motives of a music blogger – it is usually obvious within the first post or two.

The wider issue here is one of the law, and the way it is being written at the moment.  Currently almost every single law being written in the internet space is copied and pasted from the wish lists of major corporations whose sole desire is to ring-fence their vested commercial interests.  Politicians are going to have to get pretty fucking savvy pretty fucking quickly because they are having rings run around them at the moment, and we are staring down the barrel of some of the most cock-eyed, store-bought legal travesties in recent history.

There is a Facebook group here which you can join to support Jason and help pressure Google into giving his site back, and it would be hugely appreciated if you could email support@blogger.com and tell them what you think.

*Of course, the major labels will be more than happy with that, as the fewer independent channels available the more they can own the ones which are left, and the fewer independent record labels starting up and building an audience, the less competition they have, and they are thus protected from the annoyance of having to improve their product to remain competitive.  I am not entirely convinced, however, that lazy companies should be able to use the law to reinforce what now essentially becomes a cartel, and immunise themselves against having to compete in a free market.

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Toad and Ruth’s Toad and Ruth Show With Toad and Ruth – 17th May 2010

We’re a bit more organised this week, back with Ruth, back with a band in the studio, back with the usual dysfunctional bickering and general bollocks.  Loch Lomond are visiting to support the release of Night Bats on Song, by Toad Records and to play a wee tour and it seemed only sensible to invite them into the studio to record live with us.

Listen live here.

Live in session with Loch Lomond.

and Ruth too…aren’t you chuffed?!

Tracklisting:
01. Beirut – Elephant Gun
02. Danny & The Champions of The World – Henry The Van
03. David Tattersall – The Typewriter Ribbon
04. Loch Lomond – Bird and a Bear (Live)
05. The Generationals – When They Fight, They Fight
06. Loch Lomond – Wax and Wire
07. Loch Lomond – The Egg (Live)
08. Arthur Russell – Letter
09. The Books – Beautiful People
10. Loch Lomond – I Love Me (Live)
11. Jens Lekman & Tracey Thorn – Yeah! Oh Yeah! (Magnetic Fields Cover)
12. Loch Lomond – Elephants and Little Girls (Live)
13. The Mabuses – I’m The Greatest

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Live in Edinburgh This Week – 17th May 2010

I’m afraid the gig listings this week are going to be little more than a great steaming post of Toadspam.  We’ve a lot on at the moment, and I’d hate to think you’d let other people’s wonderful creative efforts distract you from the fact that the most important thing you can do this week is give a needy, gin-soaked virtual amphibian a bit of validation.

So as such please bear in mind that it is most definitely NOT the This is Music fourth birthday celebrations this Friday, and Meursault are certainly NOT going to go down to Sneaky Pete’s to rock the shit out of the place, oh no no, nothing of the sort.

Anyhow, the Loch Lomond Night Bats launch tour kicks off tomorrow, in the Slaughtered Lamb in London, then trundles through Glasgow on Wednesday (the first ever Glasgow Toad Night, as per the above poster), then Aberdeen on Thursday, Berwick on Friday, Leith on Saturday and back down to London to play The Black Heart in Camden on Sunday night.  Because I am driving around with them, posting might be somewhat disrupted this week, but I will try and make sure I get a couple of reviews written up this afternoon so that they are available to post over the course of the week.  Otherwise you are in the hands of Dylan, rather famously referred to as Baldrick in the comments for the last podcast, much to his distinct lack of amusement and my descent into the giggles.

Anyhow, at the Roxy Art House there will be some poetry and music from the Wintergreens on Wednesday, and then some sprightly indie-pop from Come On Gang on Friday, but there’s not an awful lot else that I can find in Edinburgh which looks like my kind of thing, honestly.  Social Services look kind of interesting, although I know nothing about them at all, and they’re on at Sneaky Pete’s on Thursday 20th.  And that seems to be it, although it’s far from unusual that I miss at least one good gig from these listings every week of course.

Wednesday 19th May 2010: Meursault, Loch Lomond & Jonnie Common play the Song, by Toad Records Showcase at Mono, Glasgow.

It’s been a while since I’ve been through to a gig in Glasgow, and I am really looking forward to this one – Mono is a lovely venue by all accounts.  I was toying with the idea of trying to get more Glasgow bands on the bill, and then it struck me how silly it would be to to go to all the trouble of putting on a gig in Glasgow, only to put bands on the bill they can see every other week anyway.  I reckon we should start doing a few of these showcases actually – help small Glasgow labels to put them on here, and then encourage Edinburgh ones to do things through there.  If that worked out we could even extend it to places like Aberdeen or Manchester or stuff like that, but I’m probably getting a bit ahead of myself here…

Loch Lomond – Tic

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Friday 21st May 2010: Meursault & Islet play This is Music at Sneaky Pete’s.

Yes, yes, yes, I will be in Berwick and unable to attend this one, very funny.  I reckon the idea of the Meursault playing a full band set live in a little club like Sneaky’s should be bloody brilliant, to be honest with you. It is hopefully going to be very, very loud.  Due to excessive workloads I haven’t had the chance to actually go to a bloody good late night piss up for a while, and this is the one I would pick if I could.

Meursault – Red Candle Bulb

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Saturday 22nd May 2010: Sam Amidon, Loch Lomond & Leif Vollebekk at the Queen Charlotte Rooms in Leith.

The return of the Bowery, with early evening crafts, some poetry reading, and music this should be a lovely night.  The Queen Charlotte Rooms (the pink building just next to The Compass in Leith) is a building caught in a bloody timewarp, but that makes it an absolutely incredible place.  It looks for all the world like somewhere my grandma would have gone for one of her industrial-strength rum and cokes to meet her friends from the British Legion.  The music will be folky goodness from Sam Amidon, Loch Lomond, Leif Vollebekk all kicked off by a solo acoustic performance by Neil from Meursault.

Sam Amidon – Wild Bill Jones

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Jenny Soep at All Tomorrow’s Parties

[This week's Sunday Supplement is brought to you by Jenny Soep (pronounced 'Soup'), who has made it her mission to hunt down 'bloody good gigs' and draw her experience of them onto paper. A bit more time-consuming than taking a photo. But that's what she does, and she's pretty damned good at it, if you ask me.  Last weekend Jenny was at the Matt Groening ATP, where she captured the moments below. You can see more of her stuff over on her own blog, which you should obviously take a look at.]

Hello folks. This is the complete antithesis of Song By Toad, as in no words of wisdom, complaint, rant or fancy shall flow forth from my firmly clamped bouche.

Not this time anyway.

Instead I am offering up the following laid out on a delightfully sparkly silver platter for you to feast your eyes and cogitating mind upon.  They are (this bit is the informative bit, so pay attention) all drawings, hand-drawn from the press pit at Matt Groening’s most fabulously embroidered-together festival set list.  I will admit they’re not the actual papery drawings – that would be impossible, and some skull-duggery has been afoot with photoshop as you may notice, but all the squiggly sketch-like marks you see on the images were done during the live performance of each artist.  I have lightened or darkened some areas to suit my memory, and for just a bit of fun really. However it has meant about 24 hours extra work that I never intended.

Yes I met Matt Groening. Yes I was inwardly spasm-dancing-about-manic-excited, but yes, I activated my super-secret-superficial-forcefield to appear composed and unaffected.  Most people at the festival met Matt, and a huge amount even got photos complete with cuddles and probably even a leg over, signed and doodled-on posters, t-shirts and other extremities, some folks queueing for hours without titbit. I however, got Matt’s email address, and the cute little lady that was with him – could have been his wife, could have been his PA. She asked specifically for my contact details. So let’s see if anything comes of it.

Meanwhile, I got a cracking load of drawings done of the best music festival I’ve had the joy of infiltrating.  Got the attention of most of the musicians, met a good few of them impressing them with my doodle power before exiting with a flourish and a promise of a copy to be mailed toute-de-suite in the digital post before a fortnight was dead and gone.

So here you are. The first instalment of my favourite acts of Matt Groening’s ATP and his delicious music taste quenchers. Enjoy.

I’ll be sticking them up on my own neglected blog at some point soon with the rest of ‘em. (PS You may have noticed, being an observant bunch, I chucked in an extra drawing of Pavement who are curating and playing their own ATP this precise weekend. I drew it at their Barrowlands gig the week before. It was an excellent but thickly steamy hot gig. I was sweating and I was just in the press-pit holding a sketchbook. Pansy.)

Click on the thumbnails below to open a larger image…

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Toadcast #122 – The Greencast

This podcast is called the Greencast because we have the most hobbled government in recent memory – Cameron has kinda, sorta, maybe won, in the sense that he is actually the PM.

On the other hand Clegg, having been butchered at the polls, after a promising campaign, is now in a position of more influence than he was ever likely to gain from the election alone.

And yet Labour, despite being deposed, seem to have come out of it all better than anyone.  They may be out of power, but they are free from the millstone of the next few years of cuts, they can sit back and watch the Tories and the Lib Dems squabble for a couple of years and achieve nothing at all, and once the coalition has made fools of themselves for a couple of years Labour can pop up again with a new, smooth, television-friendly leader and trade on the inevitable failure of the preceding government.

So, as read in the Guardian, Labour may actually have won by losing.  And here are some tunes.  Utterly unrelated tunes!

Toadcast #122 – The Greencast

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01. Loch Lomond – Spine (05.49)
02. The Man From Delmonte – Drive Drive Drive (13.00)
03. The Magnetic Fields – Drive On Driver (15.24)
04. Modernaire – Bloodshed in the Woodshed (21.27)
05. Rats With Wings – Hungry Like the Wolf (29.27)
06. Pet Shop Boys – Rent (36.09)
07. David Bowie – Let’s Dance (40.59)
08. Huey Lewis & the News – The Power of Love (54.50)
09. Glaciers – Brooklyn (61.15)
10. The Moulettes – Bloodshed in the Woodshed (71.25)

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Friday is Ready for a Hellish Week

Before the mentalism kicks in, some nice things. Firstly Los Podcartos have been extremely Toad-friendly this week, with two very generous pieces on what we’re getting up to at this end of the M8. On Thursday they published an interview with my good self in which, as ever, I talk rather too much. Fortunately, liberated from my own waterfall-tongued contributions, they were able to be just a little more disciplined in their podcast this weekend, during which they are incredibly nice about Toad things and plug the Wednesday Toad Night at Mono for all they’re worth.

Personally, I hugely appreciate that, because I am not very Glasgowy these days and am not entirely sure how full Mono is going to be on Wednesday, so if you are a Glasgow-based Toad person reading this then please feel free to spread the word and get as many of your mates there as you can – tickets here if you want ‘em.

On the subject of Glasgow, we have a special treat to start this Friday Fives, namely Adam Stafford and Emily Scott covering the Twilight Sad’s Walking for Two Hours. Apparently Adam has finished an album of covers and was just a little too excited by this one to keep it under wraps.

Adam Stafford & the Deathbridge Convention – Walking for Two Hours

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Right, the mentalism. Well, Loch Lomond get here on Sunday and they have what can only be termed a hectic schedule ahead of them: Fresh Air Session on Monday, The Slaughtered Lamb in London on Tuesday, Mono in Glasgow on Wednesday, The Tunnels in Aberdeen on Thursday, The Barrels in Berwick on Friday, The Queen Charlotte Rooms in Leith on Saturday, The Black Heart in Camden on Sunday and then a Toad Session and an Off the Beaten Tracks Session on Monday. Well, it’s their own bloody fault – they kept wanting more gigs and now they’ve got ‘em!

I’m on holiday and will be driving the bastards though, so I’ll be fucking destroyed by the time we get through all that lot. The Monday Toad Session will be hilarious “So erm… oh, whatever, just play some songs”.

Next week will start with a bit of famousyness too, with LCD Soundsytem and Band of Horses reviews pencilled in for early in the week. I haven’t really been paying much attention to major label releases recently, but as I said to the nice lady from Island Records recently: “They’ve no idea what they’re doing, the music they release is fucking shit, and they want total control of absolutely everything, so fuck them.” I didn’t realise she was from Island at the time, of course.

So, at last we come to the de-lurking part of the week, where you the people get to take back the conversation on this site from the same old muppets who spend their week bickering on here like a bunch of teenage girls.  Except me.  It’s all good sense when I’m doing it of course – I just meant everyone else.

1. The last time you spectacularly put your foot in it.
2. Favourite dessert.
3. Favourite desert.
4. Person you have actually met with a name to kill your parents for.
5. Your shoe size, as measured by any units you please.

Only four songs now, because you’ve already had one:

The Twilight Sad – Walking for Two Hours

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Casiotone for the Painfully Alone – Born in the USA

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Clem Snide – Beautiful

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Rats With Wings – Hungry Like the Wolf

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The National – High Violet

I am not going to review this album exactly, I don’t think.  My feelings are a bit ambivalent, and I’m not really sure where I stand on it, so I thought that instead of actually writing a review I might recount three conversations I’ve had about it recently.  These are badly remembered versions of the conversations, not word for word transcriptions, but hopefully they get the point across.

Dylan:

D: Heard the new National album yet?
T: Yeah, but to be honest I’m not really that into it.
D: No, I know what you mean, but it is growing on me.
T: They’re like that as a band actually – I’ve always taken ages to get into their stuff.
D: In some ways Boxer is still growing on me.  But with the new one I keep listening to it and finding lyrics and little bits which are amazing.
T: Yes, and then once you find that bit you suddenly find that it gets you into the whole song.  I know, I’m not going to stop listening to it, it’s just that I haven’t really clicked with most of it yet.

Ruth:

R: Have you heard the new National album yet?
T: Yeah, I’m not really…
R: No, no, me neither, I really don’t like it.
T: Finally, I feel I can say it out loud.  Everyone seems to love the bloody thing.
R: It’s just not that good.  It’s repetitive, the lyrics are great, but the tunes just aren’t there.
T: No, none of the actual melodies have really stuck in my head yet particularly.  I’m just find it quite boring, and I loved Boxer, although that took a while to grow on me as well.
R: Well I’ve listened to the new one at least ten times and I can’t understand why everyone’s so excited.  It’s like they’re finally getting the praise for this one that they were due for Boxer, like Grizzly Bear.  The one everyone loved was nothing like as good as the previous ones.

Elbow were a bit like that, I think. The Seldom Seen Kid is nothing like their best album, but they’d been bubbling under as an excellent band for so long I think people finally decided they were due some recognition and heaped it on a record which may not, in itself, have actually merited the acclaim it received.  A bit like Ryan Giggs’ Player of the Year award last year.

Neil:

N: So, have you got the new album by The National?
T: Yep.  Not really that convinced, to be honest.
N: You’re a fucking idiot.  It’s incredible.
T: I don’t know, I’m not really getting it.  I keep feeling I’m missing something, with all the praise it’s been getting.
N: Praise?  It’s had really bad reviews.
T: Has it?  I’ve not really read any of the reviews, but everyone on Facebook and Twitter and so on can’t stop talking about how it’s the best album of all time and so on and so forth.
N: Maybe, but the actual critics have been really lukewarm.  Most of them are saying that the tunes just aren’t there.
T: I’d tend to agree.
N. But it’s not that kind of album – that’s not what it’s about.
T: Well the fans themselves seem to love it.  Maybe they’re just listening to it longer and with more attention and less expectation, rather than rushing through it trying to find a handle for a review.

So there we go.  I still don’t get it entirely, although there are some great moments, and National albums do tend to take a long while to sink in with me, so maybe that will change over time.  Then again, I was never all that keen on Alligator, so maybe I am at heart just not much of a National fan, which is possible. Anyhow, a record being a hit with the fans rather than the critics is no bad thing.

The National – Bloodbuzz Ohio
The National – Sorrow

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