Toad Flake Paint Records Split 12″

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As you may know, Song by Toad Records is a super-cool Brooklyn record label these days – well, for the next month or two anyway. We’ll be back to rather-less-cool Edinburgh in the new year. But anyway, for now: HIPSTERS!

Anyhow, I reckoned that one of the best possible ways to commemorate our trip was to record a Split 12″ with local bands while we were out here. My brother works in a recording studio and it seemed like a really good way to get involved with local music.

I have a couple of friends who are really into a lot of bands from around this part of the world. James from Passion Pusher and Tom from Gold Flake Paint have pointed me in the direction of a lot of great bands so I nudged them for a couple of recommendations and we soon came up with far too many bands to fit on one record because, well, whatever anyone tells you, there really is an awful lot of very good music out there.

Tom has his own label called Gold Flake Tapes actually, and we’ve talked in the past of doing jointly-promoted shows under an amalgamated Toad Flake Paint banner so… well, you can see where I’m going with this can’t you. This Split 12″ will be a one-off release on the newly minted Toad Flake Paint Records imprint, one sure to take the world by storm and become the great kingmaker label the world has been waiting for for so long.

Or maybe we’ll just make a record we both really, really like. Maybe just that, actually.

I went to see most of the bands in question during CMJ, which by sheer coincidence happened to take place the very week Mrs. Toad and I first moved over here, and it was a bit nerve-wracking to actually meet them in person.

I have a missing incisor at the moment, and a semi-inebriated, toothless Englishman lumbering up to a band after a show saying ‘hey, that was great, remember we talked about being on a record, well erm, want to be on this record we’re making?’ didn’t strike me as a great strategy for approaching people.

I never really make a good first impression on folk anyway though, and I have learned over the years that just not worrying about that and blundering on anyway in the hopes they’ll realise I’m sincere at some point tends to be the best approach. I’ve tried actually modifying my behaviour and trying to be a bit more subtle, but it tends to just come across as condescending and insincere, so I basically just went for it and hoped for the best.

It seemed to more or less work this time, I think. At least, everyone was really nice, if a bit baffled-looking at first, and a few members of the various bands had time for a bit of a chat and some basic planning.

One of the odder aspects of the process this time around is where it is actually going to be recorded.

See, the place my brother works over here is actually the National Opera Centre in Manhattan. It’s all entirely above board, but basically we are going to be faced with the somewhat bizarre scenario of waiting for all the nice grown up opera people to go home and then sneaking a bunch of pop bands in the back door to use the nice facilities after hours. It really is going to be an odd experience, but a fun one I think.

Because we are cheap bastards and refused to fly our normal photographer Nic Rue out for this one, my brother will do all the recording, I’ll do the photos and the video and then presumably we’ll mix the results between us.

Even though he’s a sound engineer who talked me through all my tentative early attempts at recording, my brother and I have never really worked together apart from an Inspector Tapehead Toad Session many years ago, so that too will be really nice.

Furnsss and Eskimeaux are on board already, and we’re just finalising the last couple of bands, but we’re nearly there and have recording dates down for late November and early December so far, so it’ll be a couple of months before it finally all comes together, but all being well we should leave New York at the end of the year with an amazing new record almost ready to go. Woo hoo!

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