Song, by Toad

Archive for the Song by Toad Records category

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Garden of Elks Sign to Song, by Toad Records

A Distorted Sigh Hi Res

Yup, it gives me great pleasure to formally announce the first of our new bands for 2015 (there will be a couple – keep an eye out for your Christmas present on the 25th): Garden of Elks.

Because the first tracks they ever recorded were done by a friend of mine I think it’s fair to say that I’m one of the band’s earliest supporters, but that doesn’t matter for shit if you don’t follow through on your enthusiasm, does it? NO, so we’ve just reached an agreement to release their debut album next year, and I am really excited about it.

Admittedly ‘signing’ to this label is rather over-stating what happens. I send an email saying ‘fuck it, let’s do this’ and the band either say ‘hooray’ or ‘piss off’ and that’s about as formal as it ever gets, but however it happens we have ten tracks of short, sharp indie rock on vinyl or cassette coming your way in Spring 2015.

And to make things even better, they’re playing our Christmas party on Saturday 20th (yes, THIS SATURDAY!) at Henry’s. So come on down, get pished, and laugh at me as I stumble about the place.

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David Thomas Broughton & Juice Vocal Ensemble – Unshaven Boozer

From the first few moments this does actually sound like a sort of ironic Christmas single, I suppose. It’s deceptive. The light-hearted delivery of the chorus, along with the relatively flippant-sounding words… and then that turns out to be a complete red herring.

It’s actually a rather heart-breaking lament about feeling on the scrap-heap in a world which no longer entirely works in the way it used to, but that chorus is still so completely infectious you find yourself humming it anyway.

Well balls, it’s about time we had a Christmas single. Even if it’s of rather questionable suitability.

Unshaven Boozer is The second single from David Thomas Broughton and Juice’s glorious album Sliding the Same Way, released in September on Song, by Toad Records. Have a look at how gorgeous the CDs are here.

“ I have heard nothing, nothing, nothing like Sliding the Same Way.” – “the loveliest voice on record this year.” Gold Flake Paint
nothing short of genius” – “a measured missile, straight to the heart” Is This Music
“…it’s as if the songs have been written, then broken into their component parts to lie, glittering, across the
running time.” Alan Morrison, The Herald
“Startling and beautifully unsettling” “A beautiful and profoundly affecting record.” Americana UK
“an unorthodox beauty.” The Skinny
“…an absolute belter, packed full of the sort of belligerent eccentricity we all need” – “…the sort of thing Ivor Cutler or John Cale would have made around 1972” Incendiary Mag
“a peaceful masterpiece” Shout4music
“the most idiosyncratic and memorable record you’ll hear this year.” Sounds XP
“Broughton’s skill as a lyricist shines” – “the richness of life and death in a way … both sincere and ridicu- lous, and therefore honest.” Soundblab

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So This is Supermoon

Since the demise of Meursault I’ve had a lot of people ask me what Supermoon, Neil Pennycook’s new project, is going to be like. A sort of continuation of Meursault? Something entirely new?  Given how distinctive his voice is, can it ever really sound hugely different, especially as Meursault had so much range in the first place?  And the answer is that I honestly just don’t know.

Looking at a recent interview Neil did with Wow247 I don’t necessarily know if Neil himself has that much idea really, although I think it has been slowly crystallising in recent weeks.

If you want to find out then the best way will be to keep an eye on the Supermoon Soundcloud page, because Neil is embarking on his first official Supermoon project. Called A Month of Black Fridays, he’ll be posting a new song there every Friday this month – all really minimal home recordings – and then working these songs up with a couple of others into a what is going to be Supermoon’s first formal(ish) release.

That will be a relatively lo-fi and sketch-like album of songs, working towards something more polished and formal later in 2015. These were the plans last time Neil and I had a whisky, at least. Who knows, they could easily still change in future.

Keep an eye on that Soundcloud in the meantime though…

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Edinburgh Council Completely Embarrassed by Queen’s Hall Fiasco

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Wonderful. Edinburgh Council spent Monday evening persuading people working in music here in Edinburgh that they are sincerely looking to find ways to encourage live music to flourish in the city, and not let it be dragged down by single complainants intent on damaging the cultural life of the city because they didn’t realise that moving in next to a music venue might involve hearing said venue going about its business from time to time.

And then today the Queen’s Hall was forced to remove all its external advertising because of a single complainant who objected. And instead of laughing at that complainant and telling them to grow up and piss off the council capitulated, and in doing so basically make themselves look a bit stupid at best, and craven, cynical and dishonest at worst.

Or, in slightly more familiar language for readers of this site: Jesus fucking Christ, this really is unbe-fucking-lievable, for fuck’s sake.

Neil Cooper – a journalist and formidable campaigner for the arts here in the city – pointed out the almost comically stupid double-standard here. When the Picture House was sold to Wetherspoons to be made into a megapub the likes of which Edinburgh very clearly does not have even the slightest need for, 13000 people signed a petition to protect it as a music venue. This in a city where they are closing all the time and we need as many as we can possibly preserve. So one complainant gets to prevent the Queen’s Hall advertising their own business, one crucial to the cultural life of the city. But 13,000 complainants asking the council to stand up to the big breweries are all ignored.

The imbalance is so utterly ridiculous it basically makes them either look stupid or corrupt. I have no idea which.

Now, the council seemed entirely sincere when they attended the meeting on Monday, and it seemed like a really productive conversation with genuine intent to tackle the problem, so this news today just seems embarrassing, but it highlights the problem very, very clearly. Simply put, one person complaining should never be able to have such a massively negative impact on one of the cornerstones and genuine work-horses of the city’s cultural life. It’s fucking ludicrous.

The Queen’s Hall may not seem like they support the local music scene all that much. You don’t see Edinburgh bands playing there all that often, let’s face it, but that’s because they’re a big venue and very few local bands can actually fill it. Having said that, as soon as anyone gets to that level, the support they give is fantastic. Withered Hand, Broken Records, Stanley Odd and Meursault have all graduated from the circuit of smaller venues to play the Queen’s Hall in recent years, and Plastic Animals, eagleowl and Rob St. John have all played support slots there. And that’s just Edinburgh bands. R.M. Hubbert, Rachel Sermanni, King Creosote, Randolph’s Leap… all these bands have come from the Scottish underground to play headline slots at the Queen’s Hall.

In fact, even if they can’t necessarily get away with it the rest of the year, the Queen’s Hall specifically take advantage of the extra footfall during the Edinburgh Festival to take a chance on other local bands who might not be able to fill the place otherwise. In other words, they know exactly what is going on and they give as much support to the local scene as they can, whenever they get the opportunity.

And that’s not even mentioning more adventurous stuff like Whatever Gets You Through the Night, Bastard Mountain and #Unravel – all risky, artistically ambitious projects related to music, but with much broader scope, which they have supported in recent years.

So, Edinburgh Council, the appropriate response when one dude objects to the Queen’s Hall relatively discreetly advertising their own business, a business which is a massive boost to the cultural life in Edinburgh, on the front of their own building, is this:

“Fuck off, you tedious, self-important idiot and stop wasting absolutely everyone’s fucking time with this bollocks.”

I won’t even trademark the response, so feel free to copy and paste it from this site for future correspondence.  The meeting should not have taken any more than about five minutes. “This guy’s a fucking tool right?” “Right” “Shall I just tell him to fuck off.” “Yeah I think so. We’ve wasted too much time thinking about it already.” “Cool.”  And that’s it. It deserved no more of your time than that. And no other response.

Because, let’s be clear about this Edinburgh Council, you should be absolutely embarrassed that this outcome was even suggested, never mind ratified. THIS is why you are such a big problem. It’s laughable. It’s pathetic. It makes you look like complete fools to absolutely everyone, and like enemies of the very community you are employed to administer. You are here to make our city work for us, remember.

Given the state of Nicholson Street in general, the very idea that you actually entertained this complaint for longer than it actually took you to read it all beggars belief. If the advertising was too cluttered and contravened planning regulations you may feel your hands are tied, but all you have to do is enter into a plan with the Queen’s Hall to tidy it up. This response is as needless as it is stupid.

13000 people can’t prevent an giant factory pub opening on Lothian Road, but one imbecile can interfere this seriously in a crucial creative enterprise.  I dearly, dearly hope Monday’s meeting is the first step down a road which ensures this sort of embarrassing nonsense never happens again. It genuinely seemed like there was a will to change within the council and I hope that is true.

Just commit to memory the fact that next time this happens all you really have to say is ‘ha ha, piss off’. That’s all.

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Don’t Make a Scene

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A couple of years ago I wrote a surprisingly popular post called ‘A Few Reasons Promoters and Bands Don’t Get Along’. I’d just got into regular gig promotion and was only just starting to get my head around the difficulties of doing it right. I’d spent a lot of time around bands at that point, and had heard complaint after complaint about promoters, whether they be amateurish, dishonest, spiteful, or just disorganised and I was absolutely adamant that I wasn’t going to become one of those promoters.

It’s tough though. As I started to get my head around it I started to realise, for example, just how hard it is to pay a band a decent fee. Never mind all the other stuff about decent food, a nice place to stay, actually turning up at the gig and being friendly – it’s actually tough as fuck to even do the bare minimum and pay a band even a cursory fee. So I wrote about it – about all the pressures on a promoter and all the pitfalls they face, and about what I myself understood about the difficulties of touring and what makes a gig feel worthwhile or otherwise for a band.

Basically I was trying to show how hard it is to make the requirements and obligations of both actually meet in the middle. I’d heard so much about dreadful promoters, but I also thought a lot of bands didn’t really appreciate how tough the job was and I thought some explanation of the mismatch of expectations or the simple impossibility of some of the economics would be helpful in making things a bit less attritional.

Rob St. John and Bart from eagleowl are two people who have both toured extensively in bands, both their own and other people’s, and who have also spent significant periods of time doing regular DIY gig promotion. They’ve both experienced the frustrations of both sides of this particular fence, so some time earlier this year they decided to compile a collection of anecdotes and advice from people involved in DIY gig promotion, to try and give people a bit of help navigating this particularly tricky terrain. They kindly asked me to contribute, and so I sort of re-visited the article I told you about above.

The resulting zine is called Don’t Make a Scene, and you can pre-order one here (they’ll be posted out in late November).  There are loads of other contributors too, along with illustrators and photographers, and I haven’t seen the final product yet, but I am really looking forward to getting my grubby hands on one.

Contributors include Chris Tipton (Upset the Rhythm, London: ‘Curate your event with imagination, honour and taste’), Sofia Hagberg (End of the Road / Sam and Sofia, Sheffield: ‘Advancing a show’), Emily Tracer Trails (Edinburgh and Glasgow: ‘A guide to not losing money on gigs’), Fielding Hope (Cry Parrot / Cafe Oto, Glasgow / London: ‘Applying for funding’), Andy Inglis (5000 / former manager of the Luminaire, London: ‘We’re good at taking things for free’), Matthew Young (Song, by Toad, Edinburgh: ‘Bridging the promoter-musician gap’), Johnny Lynch (Lost Map, Isle of Eigg: ‘Some things I’ve learnt about putting on gigs’) and Andy Abbott (That Fucking Tank, Leeds: ‘DIY bother? Reasons to keep doing it’) and many more.

Don’t Make a Scene contains new visual art, illustration and photography by Lizzy Stewart, Tommy Perman, Sarah Tanat-Jones (Synaesthete / Kit Records), Craig Coulthard, Neil Cammock, Matt Pattinson and Cammy Watt (Enfant Bastard).  

The zine features an interview with Marie Tippex (from booking agent Julie Tippex), and articles on DIY sound engineering by Tim Matthew (regular engineer for Lau); all-ages gigs by eagleowl’s Clarissa Cheong, setting up DJs and club nights by Malcolm Benzie (Papi Falso) and Lisa Brook (founder of Cafe Kino in Bristol and DJ Cupcake); and advice for prospective promoters from experienced touring musicians David Thomas Broughton, Mark Andrew Hamilton (Woodpigeon) and Dan Willson (Withered Hand).

The first edition of 300 copies will be released on 24th November 2014, reasonably priced at £4, and will be available for pre-order through dontmakeascene.co.uk.  Don’t Make a Scene was riso printed by Footprint Workers Co-op in Leeds using soy inks on recycled paper.

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Aberdeen Label Market

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Do you live in Aberdeen? Do you give a shit – even a teeny-tiny little shit – about the records we release here at Song, by Toad Records? Of course you do. So come down to the Lemon Tree on Saturday 15th, where we and several of our other label pals will be setting up shop with our latest releases and probably spending so much money on other people’s records that the whole thing ends up seeming a bit silly, but hey ho, records and fun, you can’t argue with that.

And trivial nonsense aside, since the demise of One Up, I don’t think Aberdeen has actually had a decent record shop, although in my ignorance I could be doing someone a grave disservice here, making this kind of event even more important. I’ve said before that we don’t really make much money doing these label markets, once you take all the travel into account, as well as the amount we tend to spend on booze and other people’s records, but I still think they’re really important.

Mostly, I think it’s the type of fan who comes along which makes it important. I think you have to be pretty dedicated and pretty knowledgeable about your music to even realise these things take place (normal people don’t really follow the announcements of tiny indie labels), so the people you tend to meet at these events tend to be the most important fans, really: the ones who come back time and again, who know every artist on a label even if they don’t unconditionally love them all, and the people for whom their love of weird, under the radar music is really important. And I think it’s important that we keep a good connection with folk like that, because ultimately they are the same as us, and their dedication keeps small labels alive.

As for us, we’ll have a couple of new releases for sale: the new Passion Pusher tape and the CD version (not the vinyl yet, sorry) of the new Jonnie Common record Trapped in Amber. Please do come along and say hello. And do remember that Jonnie’s Aberdeen album launch is actually this Thursday at Downstairs with Christ and Colin Austin.

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Trips and Falls – Your Consequences Are Bullshit

Trips and Falls are fucking ace. We released their third album last year, The Inevitable Consequences of Your Stupid Behavior, and they have just completed this remix project with their friend Justin Hamilton, and it’s bloody brilliant.

It’s basically a single, seventeen-minute song consisting of chopped up and remixed songs from the album, and it’s ace. The woozy weirdness mixed with pop sensibilities which drew me to the band in the first place is pushed right over to the weird side of the spectrum here, and it works fantastically well.

For a band who had a (brilliant) song on their first album – You Should Really Get Yours – which pretty much sounds like it’s being played backwards, their latest album was actually relatively sensible by comparison, but without changing the feel of the songs themselves too much they’ve managed to really tease out the idiosyncratic core, and produce a really compelling work of psychedelic* weirdness. Great stuff.

The band have these thank-yous, so I thought I should pass them on too:

First we would like to thank Justin Hamilton for his work on these remixes, without which this project would have never happened. Also, Mr. Jeremy Schruder who masterfully took all of the pics associated with this project. Thanks Jer! Mr. Orson Presence for his recording, his extra help, his patience, and his skill.

Lastly, Jacob would like to specially thank Natasha Desmarais and Alec Dippie who put up with his ridiculous ideas, and without whom, none of the rest of these productions would be even possible in the first place. Thanks!

*Yes, I know, everything’s fucking psychedelic these days. Even I’m at it now. I hang my head in shame.

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Upcoming Toad Gigs

direstraits

After a wee break and a couple of house shows, we actually have quite a lot of gigs coming up in the next little while, and that’s without even having thought about our New Year’s House Gig yet.

Obviously you are morally obliged to come to absolutely all of these shows and if you don’t attend each and every one I will secretly suspect that our friendship is based upon nothing more than a tissue of lies and pity. And if you can’t manage all of them then, erm, well one would be nice if you’re up for it. Please. They will be great shows, I promise.

couchking

Passion Pusher EP launch shows:

This Saturday 8th Nov – Voxbox, Edinburgh
With Sean Armstrong (The Yawns)
Sunday 9th Nov – Flying Duck, Glasgow
With FROTH, Herbert Powell Youngstrr Joey

These shows may have been a little hastily arranged, but they mark two important events: our first formal release with Passion Pusher, and our first ever cassette release.  James calls his genre ‘dingus rock’ which I have to confess I rather like, and I suppose you could throw slacker and lo-fi in there too, but those terms get applied to fucking everything these days. Slop rock maybe, because it has that sort of feel to it where you’re not sure if he would perhaps rather be playing computer games rather than singing the songs, but the end results happen to turn out brilliantly anyway.

Jonnie Common Album Launch Digiflyer

Jonnie Common album launch shows:

Thursday 13th Nov – Downstairs, Aberdeen
Friday 14th Nov – Pilrig St. Paul’s, Edinburgh
Saturday 15th Nov – Glad Café, Glasgow

Jonnie’s album may be mired in manufacturing delays (sorry everyone) but we will have copies on CD in time for the album launches. Jonnie just recorded a session with Vic Galloway (including an absolutely awesome John Cooper Clarke cover) which you can listen to here. In Aberdeen he will be joined by Christ and Colin Austin, and the Edinburgh and Glasgow shows will be with Wolf and poet Ross Sutherland.

ToadGig2014 1 digiflyer

My fucking birthday!

Wednesday 19th Nov – Henry’s, Edinburgh
The Pictish Trail, Two White Cranes & Owen McAulay

Quite why I have volunteered to work on my own fucking birthday I don’t know, but when Roxy from Two White Cranes got in touch asking about gigs in Edinburgh on the 18th or 19th of November I thought why the fuck not, let’s have a laugh and see some great bands. And I haven’t seen Johnny Pictish play solo for bloody ages either, and he is, despite being head of Song, by Toad Records’ most deadly rival, fucking ace at music.

eww

Song, by Toad Christmas Parties:

Wednesday 3rd Dec – Total Refreshment Centre, London
Jonnie Common, Plastic Animals & Numbers Are Futile

Saturday 20th Dec – Henry’s, Edinburgh
Plastic Animals, Garden of Elks & erm, some other things.

We have two Christmas parties planned for this year, one down in London and one our traditional Edinburgh drunken train-wreck. London will be a bit of a label showcase, with a van-full of muppets heading down from the North to bring actual music and culture to our impoverished cousins in the South. Young Fathers won the Mercury, right? So England will be looking to Scotland for cultural leadership from now on, right?

In Edinburgh we shall have various friends doing weird and silly songs for a bit, and then some Proper Guitar Bands, and finally Irregular Owl Movements and Mrs. Toad DJ sets. God fucking help us.

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Passion Pusher – Couch King EP

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When I first came across Passion Pusher it was through another one of those infamous emails where little information is exchanged beyond ‘hey, listen to my music’. In terms of PR advice that would be considered a disaster of course, but for some reason I quite like those emails and I’ve found some of my favourite bands by following this kind of rather unpromising suggestion.

Back then there was some great stuff on James’ Bandcamp page, and I was really intrigued, but I have to confess that the subsequent and ongoing avalanche of new material was so completely overwhelming that I rather lost track of what the fuck was going on.

Earlier this year, however, I was sent four songs with infinitely better sound and focus than anything I’d really heard before, and thus this EP was born: Passion Pusher’s first formal release and our first cassette release. There are launch nights on Sunday at the Flying Duck in Glasgow, and this Saturday at VoxBox in Edinburgh (this is a daytime show), so please come along and pick up a copy. I’d like to do more tape releases actually, so hopefully this one will go relatively well.

Passion Pusher has also agreed to be on our next Split 12″ along with Now Wakes the Sea, Sean Armstrong and Andrew R Burns, set to be recorded just as soon as we get our warehouse properly sound-proofed.

And in the meantime, why not have a listen to Couch King below and buy a copy here.

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Waiters – What For Art Thou

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

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

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

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

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

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

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

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

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

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