Comacast?  Yes, because of the imminent onset of a post-Festival coma.

After trying to juggle two gigs of my own, two gigs I wanted to attend, the Antifolk-off and the visit of a good friend I haven’t seen in a couple of years and the Retreat Festival this weekend I think I am now ready to officially declare August over and collapse into a somnolent stupour.

In short, I need to sleep.  A lot.

Mrs. Toad came back from a ten-day holiday last night as well, and that always restores a sense of equilibrium.  She doesn’t do much except swear at me and tell me to leave her the fuck alone, but for some reason I find that inordinately comforting in times of stress.  I think it might be because I am a fucking idiot.

Direct download: Toadcast #189 – The Comacast

1. PAWS – Booger (00.08)
2. Trwbador – Sun in the Winter (07.09)
3. The Walkmen – On the Water (16.35)
4. Arcade Fire – City With no Children (20.05)
5. Enfant Bastard – Pob is Not Interested (26.33)
6. Michael Kiwanuka – Tell Me a Tale (34.49)
7. Electrelane – I’m on Fire (Bruce Springsteen Cover) (42.22)
8. The Love Gestures – Joanna Newsom 666 (49.55)
9. Ghost Outfit – Those Ghosts (52.54)
10. Lach – Blue Overcoat (60.12)

Happy Christmas all.  For any confused Americans out there, yes I am an atheist, and yes I love Christmas.  It’s a Pagan holiday, appropriated by the Christians so they could convert subject peoples without having to force them to give up the traditions which bound their communities together, so the idea of an atheist celebrating Christmas is no more hypocritical than a Christian doing so.  I just like the feasting and the tree and the lying in bed watching stupid movies part too much to give it up over the trifling matter of a mish-mash of sellotaped-on religious nonsense.

For any non-Americans out there who have no idea what that paragraph was all in aid of, they get awfully excited about that sort of thing over there, as far as I can tell, and try and make Christmas all non-religious by saying stupid things like Happy Holidays, when it’s not even a Christian fucking celebration to begin with.  Celebration of the Winter Solstice pre-dates Christianity by many thousands of years anyway.

Anyhow, that rather splendid cover version up there comes from the excellent LY and SO on YouTube.  They only have a couple of covers up there, but that one really is nice.  It’s funny when that sort of thing starts happening.  I can only imagine that more popular bands who get covered all the time find the experience generates a weird combination of fascination, pride, embarrassment and all sorts.

And… just to completely change the subject again, I am not going to list all the end of year’s that our bands have turned up in, because there have been too many.  I try and get them up on Facebook and Twitter as and when they turn up, so follow/friend/stalk/whatever me on there if you are really that interested.  Thanks though, of course, to everyone who has included any of our lot, because I do genuinely find and appreciate them all.

One little bit of boasting I have to do though is this: The Recommender recently asked music bloggers to nominate their favourite music blogs in the world and, somewhat surprisingly I have to confess, I finished joint fourth with Gorilla vs Bear.  That’s joint fourth favourite blog in the universe as voted by fellow bloggers.  This, I think I can say without seeming too vain, is extremely nice.

And so finally we come to our penultimate Friday Five of the year, and the official announcement of the album of the year vote last week.  As you can probably tell from this week’s posts I disagree with all but about one of you about what the best album of the year is, but no matter.  You wouldn’t need me constantly lecturing you about Acceptable Music Fun if you had all the answers already, now would you.  Anyhow, drum roll please…

5. Broken Records – Let Me Come Home I picked this one myself so I am not at all surprised and extremely pleased to see so many readers vote for it.  The excellence of this record doesn’t seem to have entirely stopped the hipster sneering from a few quarters, but I do get the impression that once folk have started doing a band down it can become rather contagious.  Fuck these people, I say.  And so do you from the looks of it.  Good on you.

Broken Records – Dia dos Namorados!

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4. Kid Canaveral – Shouting at Wildlife I don’t honestly know why this album isn’t in my top albums of the year, because I love it, but I think it might be down to how and when I listen to Kid Canaveral’s music, which is mostly live.  In fact, had I not spent a sizeable chunk of the festival season driving Meursault about the bloody country I would say that I have probably seen them live more than any other band this year. Also, this is generally music to encourage the having of Fun, which is not what I listen to in the house all that much. It’s not just that they write some killer pop tunes, but the album itself is really well assembled and perfectly paced.  They and the Scottish Enlightenment would probably be my Scottish bands of the year for 2010, I reckon.

Kid Canaveral – Cursing Your Apples

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3. Arcade Fire – The Suburbs Personally I find this album pretty dull, I have to confess.  But if you look at the results of both this vote, the Readers’ Song of the Year vote and pretty much every tight-trousered list out there then I suppose I have to grudgingly admit that the majority of the internets seem to disagree with me.  A very late spurt of voting carried this into third place ahead of Kid Canaveral, who seemed to have that spot completely sewn up.  I have to confess this is something I rather resent.

Arcade Fire – City With No Children

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=1. The National – High Violet As Big Fez said in the comment thread where the vote took place, it’s not so much the album of the year as the year of this album.  Even my mum loves it.  Enough said.

The National – Anyone’s Ghost

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=1. Meursault – All Creatures Will Make Merry When Meursault did so well in the song of the year voting I kept saying to myself that of course they were going to get a lot of votes on this site of all places – it’s like the ultimate home court advantage.  And that’s true.  But if the home court advantage counted for all that much, you’d expect to see the vote full of Toad Records bands, which it just wasn’t – not even close.  So I think it’s time to stop making excuses and accept that basically this is a fucking great record, bollocks to false modesty.

Also, of all the bands we have worked with Meursault have worked the hardest, for the longest, played the most gigs, recorded the most songs, and have never ever let me down on any count.  So instead of making excuses for why they might have got more votes here than in other places, especially when that didn’t seem to count in anyone else’s favour at all, I think I should really just be saying well done and thank you.  It’s been some year lads, well fucking done indeed.

Meursault – Crank Resolutions

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So, after possibly the longest post in Friday Five history, I can’t be arsed making up five stupid questions, so just list five things you are either very much looking forward to or very much dreading over the next couple of days.  I am guessing that this will be a quiet one anyway, given it’s Christmas Eve and all.  So happy Christmas everyone, and remember to drink massively, massively irresponsibly.

I am not personally going to bother doing a ‘Best of 2010′ podcast based around my own choices.  Over the next couple of weeks you’re going to get more than enough of that in text form anyway, so I think we can all live without a podcast as well.

What I thought I might do, though, was just do a quick rundown of the Song, by Toad Readers’ song and album of the year voting because… well, why the fuck not, I suppose.  As much as anything I felt like doing it because there were a couple of surprises in there, a couple of omissions and a couple of disagreements, so I guess  it gives me something to whinge about when introducing the songs, eh.

Direct download: Toadcast #153 – The Mobcast

01.The Japanese War Effort – Summer Sun Skateboard (00.21)
02. The National – England (06.05)
03. Foals – Spanish Sahara (11.17)
04. Broken Records – The Motorcycle Boy (24.31)
05. Kid Canaveral – Her Hair Hangs Down (29.06)
06. Arcade Fire – Sprawl II (Mountains Beyond Mountains) (33.51)
07. Micah P. Hinson – My God, My God (41.13)
08. David Tattersall – The Typewriter Ribbon (43.44)
09. Meursault – What You Don’t Have (52.46)
10. eagleowl – No Conjunction (60.54)

The results of the only real award that matters this Winter season (apart from the oracular annunciations of my own opinion, of course) can now finally be announced!  AWESOME! I hear you cry in unison.  Maybe.

Last year we had these votes as well, but I rather neglectfully failed to actually add up the final scores.  In all honesty, it’s the making of the lists which is often the best bit, so picking a winner at the very end is probably not entirely necessary for fun to take place, but given you all did me the honour of voting it seems a little rude not to fulfil my side of the bargain.

So yes, my enormous and profoundly complex algorithm (also known as a tally chart) has finally processed all the entries, and we can announce the winner of the Song, by Toad Readers’ Top Five Songs of the Year.  On Friday we will vote for our top five albums, so you might want to start thinking about that one in advance.

Anyone who actually followed the votes will know two things about this particular vote: firstly, that the winner was completely obvious from the very start; and secondly, that there are dozens and dozens of songs with no more than a single vote each, which is kind of inevitable in this kind of thing, but at least suggests that for all Song, by Toad probably represents something of a musical monoculture, there is at least a fair bit of diversity within that narrow vista.  So congratulations to the likes of CTel for coming on here and posting five entirely different songs from a notably different genre to the norm around these parts, and balls to the indie kids who don’t like it!

So, in reverse order, we had many songs tied for sixth place.  They’re not really part of a top five, of course, but I thought you would be interested to see them:
Arcade Fire – Sprawl II (Mountains Beyond Mountains)
Arcade Fire – We Used to Wait
Meursault – One Day This’ll All Be Fields
Meursault – Weather
The National – England
The Scottish Enlightenment – Little Sleep
The Walkmen – Angela Surf City

Getting into the top five, we ended up with a three-way tie for third place (in alphabetical order):

=3. Broken Records – You Know You’re Not Dead (Buy here)

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=3. Foals – Spanish Sahara (Buy here)

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=3. Meursault – What You Don’t Have (Buy here)

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There was a really close-run race for second throughout the voting, with Meursault, Foals and Broken Records all in there at various times, but in the end a little burst of enthusiasm carried the following tranche of epic gorgeousness over the line ahead of the others:

2. eagleowl – No Conjunction (Buy here)

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Which leaves the winner, obvious from the very start of the voting, and a song which, from the moment it was first released, generated so much excitement for the album from which it comes that High Violet was almost guaranteed to do well weeks before anyone heard more than a single song.  Bloodbuzz Ohio may not even be my personal favourite from that record (that would be England) but it does embody the rich, luxuriant sombreness of the album beautifully.

1. The National – Bloodbuzz Ohio (Buy here)

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And so there we go, your favourite five songs from 2010, a year which I thought was brilliant for new albums, far better than the extremely disappointing 2009.  A few things stood out to me from the voting, which are sort of worth mentioning, just by way of follow up.

1. No Sparrow & the Workshop?  Come on, people. I know the Sparrows have been quiet for a while, working on their new album, but I reckon they deserved a little more love than they ended up getting in this particular vote.

2. Ha ha ha, no Joanna fucking Newsom or Laura Marling. Well done.  They’re fucking shit.  I am proud of you.

3. Meursault and The National got a lot of votes. The National scored marginally more total votes than Meursault, but they were mostly for Bloodbuzz Ohio.  Meursault had about five or six songs, all of which could easily have been nudged into the top five by a couple of stray votes here or there.  In the end, I think it’s fair to say (with some pride) that the consistent excellence of their album, and their general schizophrenia as a band, cannibalised their own vote.  No matter though, because these two bands both scored almost double as many total votes as anyone else on the whole list, which is accolade enough in itself.

4. How do I know nothing at all about Foals? I assume that you all read this site because you more or less agree with my taste in music.  Otherwise, I can’t entirely see the point.  So how come, given we all listen to broadly the same kind of music, do you all love Foals so much while I have never once made the time to sit down and listen to their stuff.  Shame on me.  Homework for Christmas!

5. We got a lot of votes. This fact gives the results a sheen of respectability which I could never hope to generate on my own. Thank you.

You know, this sounds awfully like the Arcade Fire.  Given my recent smart-arsed remarks about journalists finding a way to compare pretty much all music (especially music with instruments in it) to the Arcade Fire, you might think that I am just being facetious with that particular statement, but I am not.  Not entirely, anyway.

What I mean by that comment is that it sounds exactly how you would expect the new Arcade Fire album to sound, there are no surprises, and that this is a bad thing.  Basically, they have got the sound dead right, but much of the other stuff seems to have been a little neglected.

I am not sure there is really an album’s worth of songs here, frankly.  There are certainly a few crackers, but this is a big, sprawling epic of a record which has the feel of disinterest and laziness about it.  Modern Man is a classic example: it’s mid-paced, delivered without any real urgency and consequently ends up sounding like a half-decent idea which hasn’t had anything like the right amount of time devoted to it.  It’s as if, having written a bunch of songs, some of which were just kinda recorded because, hell, why not, we’re in the studio, they all sat down to sequence the record and had conversations like:

‘Oh, how about this one?’
‘Sure, let’s put it in.’
‘Right, where abouts then?’
‘Oh, I dunno, kinda in the middle I guess.’
‘Track seven or something?’
‘Sure whatever.’
‘Hmm’kay, how about this one.’
‘Whatevs dude.  Anyone got any more chips?’

I assume the above imaginary conversation is borderline slanderous, and that the band sweated blood over this every bit as much as Funeral, or at least I would hope so.  In fact I would say that I assume almost every accusation of laziness or indifference any journalist ever makes is probably bollocks, but I can’t deny the fact that this album generates that impression, irrespective of its veracity.

It also feels like they haven’t pushed themselves, for some reason.  The rhythms are all pretty predictable, they haven’t been anything like ruthless enough with the songs they’ve included, and it just feels like an album where no-one has had the guts to say ‘no’ as often as it needed to be said, maybe because of the stature of the band and maybe because the relationships between the band members have become too settled and there’s not enough friction there.

Which is not to say that there aren’t some great songs here.  City With No Children in particular stands out, for me personally.  And I love The Sprawl, particularly part two.  But in general I think this album could have done with being put through the wringer of being a debut album – lean as hell and with the ideas condensed down as aggressively possible.  There might be a decent thirty-five minute album in here, but sixty-four minutes?  No, I don’t personally think so, not even all that close.

Arcade Fire – City With No Children

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Arcade Fire – The Sprawl II (Mountains Beyond Mountains)

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Website | More mp3s | Buy from Amazon

Yes okay okay, so life is easy for those of us in a remote but lovely Fife fishing village, listening to Gummi Bako rock the place to the rafters and swearing about cunts sitting down at gigs.  Gigs! Honestly!  Get off your fucking arse, it may be alt-folk to you but it’s rock and fucking roll to me, motherfucker.

Anyhew, apart from eating in the Dreel every day I have been mightily enjoying myself here in Anstruther this week, with the only imaginable improvement being the arrival of the bright shining star in the centre of my universe – Mrs. Toad –  tomorrow evening.

Driving back and forth from Edinburgh to Fife, as I’ve been doing this week, has woken me up to the importance of a few songs because they’ve appeared on the tape player in the van on a few occasions, and I am currently very much enamoured with my old collection of mixtapes.  As you well know by now.

So, I heard a fair few songs which I strongly, strongly relate with certain people I suppose because mixtapes are so evocative of certain times and certain places in your life when things were radically different. So this week’s five is about just that – which songs do you relate with whom?  Please de-lurk and chip in, because Friday is the Great De-lurking Amnesty, and I’d far rather chat to someone new on teh Internetz than the same old tedious nutbags I spend the rest of the week talking to.

1. Song which you most associate with your father (or stepfather or father figure – makes no difference).
2. Song which you most associate with your mother (again, or whomever most fits this role).
3. Song which you most associate with a close sibling (a close friend will do if you are an only child).
4. Song which you and your partner (who is allowed to be imaginary) think of as ‘your song’.
5. Song which your partner (real or otherwise) doesn’t realise is ‘their song’, but is nevertheless.

The Forest – Uncredited Serial Killer Blues

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Loch Awe – How it Began

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Graham Repulski – Election Day

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Arcade Fire – Sprawl II (Mountains Beyond Mountains)

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The Colourful Band – Tell You About

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Ruth is back on the air, and she and I commence our weekly Festival special show today at 7pm on Fresh Air. We’re on tonight, Sunday 22nd and 29th, and will be trying to get live session types in for each show, as per usual.

Tonight we are lucky enough to be joined by Lach, the driving force behind the anti-folk movement which started in New York and is relocating to Edinburgh for the Festival in the form of Lach’s Antihoot.

Listen live here from 7pm BST.

For anyone interested in some Neil Pennycook and Yusuf Azak solo acoustic videos and a bit of a review of the first night, click here.  In the meantime, we’ll be updating the playlist live as we go along this evening, so feel free to heckle us in the comments as we go along.

1. Donny Hue and the Colors – Corrine Corrina
2. Adam Balbo – ObligatoryHighway
3. Arcade Fire – Sprawl II
4. Lach – Lego (Live)
5. Lach – Antennae (Live)
6. Lach – Baby (Live)
7. The Chord and The Fawn – Young Executive
8. Lach – Egg
9. Meursault – Crank Resolutions

Tonight at 20:30 will see the return of my radio show to the airwaves of the student radio station in these parts; Fresh Air.  The station will be broadcasting through the Festival, and I myself have slots this evening, to kick things off, as well as Sunday 15th, 22nd and 29th (at the earlier time of 19:00-20:30) when Ruth will presumably be back.  The full schedule is (sort of) here.

We’re hoping to have live guests and stuff like that, and have Lach pencilled in for the 15th, to help publicise his Antihoot show, and have yet to line up anyone proper for the other two weekends yet.  We’ll hopefully get there though.

Anyhow, tonight Dylan will stand in for Ruth, and we will be previewing the Festival and talking pish about what music things are happening here throughout the month of August.

Listen Here – Live from 20:30BST

As ever, the tracklist will be updated live below and if you have any trouble with the feed you should be able to get rid of it by pausing and un-pausing the player.  Alternatively, you can find the station on iTunes as well, listed somewhere under college radio stations, I think.

1. Honeytrap – Little Johnny Winter
2. Mark Lanegan – Methamphetamine Blues
3. FOUND – Let Fidelity Break
4. Eels – Souljacker
5. Roky Erickson and Okkervil River – Goodbye Sweet Dreams
6. The Japanese War Effort – Summer Sun Skateboard
7. Arcade Fire – City With No Children
8. Inspector Tapehead – Yarvil
9. Yusuf Azak – Turn on the Long Wire
10. King Post Kitsch – Walking on Eggshells
11. Milk – Wilma, There’s Been a Fire!
12. Benni Hemm Hemm – Retaliate
13. Lach – I Want To Be With You

Night night!

I remember when I first started writing Song, by Toad, people when they first latched onto the site would occasionally refer to the not all that infrequents bursts of rage and frustration with the music industry as ‘a breath of fresh air’ and stuff like that, for the simple reason that if I thought something was fucking shit, then I would say so.

I had noticed that sort of post becoming less frequent myself over the last couple of years, and even Mrs. Toad remarked the other day that random outbursts of rage were becoming really quite rare.

I thought about this, and I think that the reason no-one in the music industry has any balls when it comes to the simple task of telling it like it is – on the face of it, quite a simple thing to do – is the same as the reason that I tend to be quite tame these days myself: you get to know everyone, you become friends with them, and it becomes almost impossible.

If I turn around and say ‘all the venues in Edinburgh are shit’, what does that say to my friend Nick, who works his arse off to make Sneaky Pete’s one of the best.  And what if I say ‘the NME is fucking rubbish’ and someone thinks, ‘oh, I might review this nice album by Inspector Tapehead, but I wonder what this Song, by Toad thing is…’ You get my point.

Toadcast #127 – The Eggcast

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01. Arcade Fire – Month of May (01.37)
02. Takeda – A Million Years (10.58)
03. Adelaide’s Cape – Anchored Down (15.55)
04. Yo La Tengo – Outsmartener (26.44)
05. Skuobhie Dubh Orchestra – Eggshell Miles (33.49)
06. The Last Battle – Ruins (36.44)
07. The Mountains and the Trees – More and More and More (47.11)
08. Liars – The Overachievers (50.45)
09. The Recovery Club – Rest and Be Thankful (53.54)
10. Meursault – Hey Joe (Daniel Johnston Cover) (62.49)

The Great Arcade Fire Hoax?  It is this:

“The prevailing belief amongst j0urnalists that the Arcade Fire invented music. They invented bands with actual instruments, and anything vaguely epic.  None of these things existed before Funeral, and therefore any band exhibiting these characteristics must necessarily sound like the Arcade Fire. “

When Broken Records first emerged they were a lot folkier than they are now, and of course Rory does regularly play both violin and accordion, so I can see how it would have been confusing for journalists, but the ‘Scottish Arcade Fire’ tag applied to them was as amusingly stupid as it was utterly ubiquitous.

Now, to me that made it really quite funny, particularly as quite a few real journalists have an hubristic habit of sneering at bloggers for being ill-informed fanboys, incapable of writing anything with economy, balance, context or objectivity.  Consequently, watching them be collectively stupid, unimaginative, lazy and just plain incapable was something I found highly entertaining. Not so much the band, of course.

Jamie from Broken Records is a sensitve wee soul at the best of times, but the Arcade Fire comparisons went from amusing to tedious to really fucking annoying rather quickly for him.  And then he began to notice that it wasn’t just Broken Records.  Every band – every single fucking indie band – which wasn’t either indie rock or pastoral ‘alt’-folk got compared to the Arcade fucking Fire, particularly if they picked up an actual instrument or made a lot of noise at any point.

Now, as a writer myself I laughed tolerantly at this particular idea.  Yes, millions of bands get compared to the Arcade Fire, but I too have spent ages wracking my brain for a comparison I can feel in my bones but just can’t quite put my finger on.  So I know how maddeningly elusive these things can be, and I’ve certainly made some weak comparisons myself in the past.

Then the Meursault reviews started to come in and yes, you guessed it, Arcade Fire comparisons were being made left right and centre, to the point that Bearded Magazine even brought them up by explicitly refusing to make the comparison, so the fuckers were still mentioned: “This follow-up to their critically-acclaimed debut album, Pissing On Bonfires/Kissing With Tongues sees the seven-piece move away from the Arcade Fire comparisons which flew in from all directions after that first release.”

Now, when Meursault are being compared to the Arcade Fire, things really have descended into parody.  “The Scottish seven-piece, whose sophomore album sounds a lot like music, owe a heavy debt to music through the ages, with their latest album full of ideas borrowed liberally from, er… music.”

But how the fuck did they do it?  I mean, as Jamie rightly points out, the Arcade Fire basically just sound like Echo and the Bunnymen but with more folk instruments and a bit of David Byrne for good luck, so how the fuck have they hoodwinked the world of journalism into believing that they invented… well, pretty much everything? Anyway, everyone knows that was Tom Waits.

Broken Records – Nearly Home

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Arcade Fire – Ocean of Noise

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Meursault – Salt Pt.1

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Echo & the Bunnymen – The Killing Moon

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