So, erm, yes, this podcast should really have happened on Sunday, but it was so unspeakably bakingly hot (alright, in all honesty it was only about 28 degrees, but it felt much fucking hotter, okay) that there was basically no fucking chance it was going to happen.
I’ve also been adjusting to not having a day job, which in its own way made this easier. I’d write posts when I could during the day, but at the moment my only job is Song, by Toad so I have focussed entirely on the important jobs, not on the day to day business of posting on the site.
Also, this is late and it may be (early) Thursday, but there will still be a podcast on the weekend, but I thought this was an opportunity which should not be passed up. It’s Glastonbury for fuck’s sake, and it really did need its own podcast pretty sharpish, even if just to wonder why on Earth Glastonbury needs its own podcast when there are so many better festivals out there!
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01. Radiohead – Idioteque (06.55)
02. Flaming Lips – God Walks Among Us Now (19.26)
03. Eels – Looking Up (24.06)
04. The Avett Brothers – Murder in the City (39.57)
05. The National – England (42.57)
06. The Books – A Cold Freezin’ Night (57.02)
07. Devendra Banhart – The Charles C Leary (70.57)
08. Broken Social Scene – 7/4 (shoreline) (73.34)
09. Wild Nothing – Your Rabbit Feet (81.06)
10. LCD Soundsystem – All Your Friends (96.59)
It’s time for some video fun here on Song, by Toad. It seems that as well as allowing more and more people to record their own music, the relative affordability of digital equipment has also allowed more and more bands and other enterprises to make surprisingly good videos on their own as well, be it music videos, live sessions, video blogs or whatever else.
Above we have the official (*ahem*!) video for Trips and Falls‘ moment of genius ‘And in Real Life He Wears Corduroy Pants”. This is from their debut album on Song, by Toad Records ‘He Was Such a Quiet Boy’, which can be bought here and which I absolutely love. But then, I would say that, wouldn’t I.
When we first saw Bombadil play live it was at Pickathon in 2008, and they were brilliant. For the most part they played songs from their debut album A Buzz, A Buzz but there was one standout which I had never heard before: Marriage, which ended up on their second record, Tarpits and Canyonlands, which was released last year. Below is a live session with Scott Avett from the Avett Brothers, who were label-mates of Bombadil’s during their years on the wonderful Ramseur Records, before they left recently to sign to Columbia.
Below we have the official Silver Columns video for their new single Cavalier. I am really looking forward to hearing this album, because far from being a disco-pop novelty act, their new stuff really sounds like it’s going to be a varied, excellent record. And a video with Johnny Pictish acting all cool like a pop star is always worth a good chortle.
When we started the Toad Sessions I think I might have had something like this video below in mind, if only we lived somewhere as cool as that. It’s by Adam Arcuragi, and it just looks so incredibly lush, the sound is good and I envy anyone actually being there. How dare their lives be so brilliant!
It’ll be back to music and the sharing of illegally pirated copyright material next, but for now I thought a wee visual interlude was in order. Enjoy!
Get it – Festive Fiddy! Oh I do crack myself up sometimes, I really do.
So here endeth the Festive Fifty for this year. As anyone who has compiled this kind of list will know, the whole process is more than a little arbitrary, and were I to start from scratch tomorrow I would probably end up somewhere notably different.
The interesting thing for me personally is to note how strongly the advantages and disadvantages of nepotism have made themselves known.
The advantages are obvious – would there be so much Withered Hand, Meursault, FOUND and all the rest so high on this list if I didn’t have a much closer personal relationship with their music than most other music? Well I doubt it. I am being a hundred percent sincere when I say that these are my favourite songs this year, but I do know that being as close to music as I am does change how you feel about it, so I have to acknowledge that.
On the downside, bands like Broken Records, Sparrow & the Workshop, Withered Hand and even Meursault to a degree have suffered from how early I became familiar with certain songs. I have a demo version, a Religious Songs EP version and an album version of New Dawn, for example. So while under normal circumstances songs like that, Devil Song by Sparrow, Eilert Loveborg by Broken Records and even Nothing Broke by Meursault would normally have figured very prominently indeed on this list, I already expressed my enthusiasm for them at least a year ago and consequently they are on other lists and I don’t really feel I can put them on this one.
And before anyone complains about Trips and Falls being another Song, by Toad Records band on this list, remember that, as with Meursault last year, it’s not that they’re on this list because they’re a Song, by Toad Records band, it’s that they’re a Song, by Toad Records band because they’re on this list.
01.Elvis Perkins In Dearland – Shampoo
There just something about the rhythm of this song which I cannot get away from. When I first played it on my Fresh Air Radio show Dylan commented that it had a sort of cocky swagger to it, and it really, really does. Then there’s the deep, foreboding harmonies which break in at the end. There’s strut to the rhythm, a crack to his voice, belligerence and tragedy in the mood of it all – it’s just a fucking special, special song.
02.Meursault – William Henry Miller Pt.2 (Single Version)
When Neil first played us this apparently he though ‘Fuck, I’ve finally written a song they don’t like’. Mrs. Toad now plays this single at least once a day in our house, and if ever there was a song to break your speakers for it’s this one. The cello is gut-shaking, the piano is chiming and gorgeous and those vocals are just about the most heart-wrenching I’ve heard anywhere, ever. So if he wants to write a song we don’t like he may have to try a little harder.
03.Navigator – Work is Done
This sensitive, emotional song interrupts an album which is basically an onslaught of overloaded mics and distortion and when this suddenly appears it hits you right between the eyes, largely because you’re so unprepared. It doesn’t depend on its surroundings though, because even in isolation this is every bit as heartbreaking a song.
04.Trips and Falls – And In Real Life He Wears Corduroy Pants
This was one of those moments where the very first second you listen to something you know for certain that you are hearing something a bit special. This is a genius combination of massively infectious pop song and really peculiar atmosphere. There’s something just plain creepy about this album, even the sugar-sweet Prelude to a Shark Attack, but this song perhaps embodies that better than any. And it really is one to be played loud as well.
05.FOUND – Mullokian (Toad Session)
I remember sitting there while they were recording this and thinking ‘What the fucking hell is going on here, this is amaaaazing!’ The gently rolling guitar refrain, the simple heartfelt chorus (if you can call it that) and Tommy’s phenomenal backing vocals – there’s just so little actually there, and even that is used with such economy. Brilliant.
06.Withered Hand – No Cigarettes
The first time I heard this I remember a grin slowly spreading over my face. Dan’s songs can often be about little in particular other than a weird sense of something really not being right, and this seems to be one of those – describing a general sense of malaise with such simple music and a deft turn of phrase, you can’t help but let this get to you.
07.Auld Lang Syne – Where My Fortune Lies
This is as rousing and uplifting as any church music could ever be, and has even more impact for shrinking back into such quiet in the middle. Some fucking voice as well.
08.The Avett Brothers – I and Love and You
The album may have disappointed, but this is stunning. It’s that voice, the slow piano, the… just the sheer sadness of it all. It sounds like the demoralisation of someone coming out the other end of a midlife crisis and surveying the wreckage of their lives, although it may not be about that exactly, it does feel that way to me I have to confess.
09.Navigator – Blood
This embodies Navigator’s brilliant album Bad Children, for me. It’s a song which is full of pain, but is angry and belligerent with it. There’s an underlying aggression to it which really batters out at you from within the noise, and prevents the song, or indeed the album, sounding at all self-pitying or maudlin. He’s hurting and he’s fucking angry, and the resulting music is absolutely superb.
10.Alela Diane – Age Old Blue
Age Old Blue may be from another album I wasn’t that keen on overall, but this duet with friend Michael Hurley is beautiful. I remember seeing them perform it for the first time after her performance at the Bongo Club a couple of years ago and having no real expectations when they took the stage, only to have my jaw drop at the combination of his nasal, grizzled accompaniment to her gorgeous voice.
To download all these songs as a single zip file, click here.
The title track to this album is as lovely a song as I have heard in ages. There are a few others of a similar ilk as well; gorgeous, lonely ballads which will certainly break your heart unless there simply isn’t one to break.
Other songs don’t really capture my imagination, however. And it Spread just doesn’t quite… I don’t know what, take a grip of my emotions like this band are so easily capable of doing most of the time, maybe. There’s quite a bit of this, unfortunately: good solid songs which don’t feel like much of a step in any direction at all. It feels like a decent and largely unnecessary record which doesn’t really mark much of an achievement for the band other than to mark the fact that they have managed to write twelve more songs the like of which we pretty much knew they could write already.
Because of this I find myself aggravatingly tempted to copy and paste the best songs from this album into some sort of Best Of folder, so I can ignore the irritating Kick Drum Heart, and concentrate on loving songs like the title track and the excellent Ten Thousand Words (which could have been written about this blog, actually). If the album stood out more amidst their canon or had some sort of compelling unifying theme or more individual character compared to their other work then I doubt I would be tempted to treat it so flippantly.
Having been about as much of a dick about the album as I can manage, however, I do think I have to mitigate these rather mean-spirited comments with something kinder, because it’s not like I don’t love parts of this record. Generally, the songs which I do love tend to be the ballads, probably because I’m a miserable fucker and have always loved sad music. Again I find myself whinging though: Ill With Want seems like an unusually saccharine version of a band who don’t generally flirt with that kind of thing.
So why the hell am I being so sulky about an album I quite like? I don’t know. I think it’s because of the reasons I don’t like it. They rap. There some real Avett Brothers-lite moments on here. And ultimately it sounds like an album they’ve cracked out in their sleep around a couple of moments of genuine inspiration, rather than one which coalesced around any kernel of passionate desire to express anything which was just bursting to be expressed.
Sorry, but I’ve taken down the mp3s for this one on advice from Lee from Knox Road (thanks). I really should have known better, because The Avett Brothers are on Columbia Records, who are part of Sony, who initiated that Glasvegas fiasco last year. Apparently they are hunting and killing anyone posting a song other than I and Love and You, which just happens to be the only really decent song on the album.
So, my advice to you? Don’t fucking buy this, it’s shit and a total waste of your money. Just download the title track from any of the blogs listed on the Hype Machine and fuck it. And while you’re at it, just don’t bother buying anything else from fucking Sony Music ever again. Fucking waste of everyone’s time. They have some nice people there who genuinely do get it – I’ve met them, I know they exist – but clearly the institutional stupidity is too ingrained for them to be having much success getting things sorted out there.
Do their management seriously think that getting reviews of their album expunged from the internet (because that is what a DMCA notice does, make no mistake about it) is more valuable to the company in terms of saving lost revenue from people downloading one or two songs, than just ignoring it and encouraging people to talk about the album? Fucking idiots. Download the whole thing from this site if you want, it’s free.
There’s not been a Big Famous Album reviewed on this site in bloody ages. Partly I’ve become so focussed on what’s going on locally that I have somewhat taken my eye off the ball with regards to bigger releases, even just those which are big relative to the small world of indie music. And partly there have been very few which have tickled my fancy in the slightest for quite a while.
There are some bits and pieces coming along though which suggest that this might change in the immediate future. And about time too, all this navel-gazing is no good for anyone. Look outwards, I say, cast off the Tunnel Vision of the Toad and embrace the wider world. Alright, sorry, but sometimes I get so deeply into my own stuff I do kind of forget that from time to time. So what do we have?
The Twilight Sad: I have a naughty copy of this, to which I am not going to confess, and have only listened to it a few times through. It’s out on the 5th October though and is currently sounding rather promising. I wouldn’t say I was all that into it just yet, but then I only really embraced their last album a song or two at a time, so I am prepared to take it slowly with this one.
The Avett Brothers: Their sound hasn’t changed much, but then it never did, really. Out on the 29th September, the title track from I and Love and You has been slipped out in to the world for us to enjoy and it is full of the exact same understated warmth which I love about this band. I know I am morally obliged to hate them because they are on Columbia these days but if the whole record sounds like this then I may find my indie snobbery very difficult to maintain.
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The Mountain Goats: Alright, I’ll say it: I thought Sunset Tree was their best album abd I have yet to hear anything by this band that I like anything like as much, despite their considerable back catalogue. Heretic Pride was okay, and the new song Genesis 3:23 is also… okay. Not at all bad by any means, but I would not describe it as any better than pleasant. This one’s also out on the 5th October.
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Yo La Tengo: Popular Songs is out on Monday, which somewhat makes up for the fact that they seem to have been a little less generous with preview mp3s than everyone else. But then, with a cast-iron reputation like theirs, why would they need to? This sounds a lot like “…I Will Beat Your Ass” and I would say that I am enjoying it, but am yet to be blown away. There are a few more moody, quiet numbers on this record as well, perhaps a little more in line with the likes of Summer Sun and the like than the previous record was.
Flashy Python: This is a solo project by a certain hand-clapping, yeah-saying gentleman by the name of Alec Ounsworth. He, like Julian Plenti before him, is rather keen to keep his solo project free from associations with his band stuff, and has put the whole album up for preview here. It’s less driven than early CYHSY stuff, and generally a bit more weird, but it sounds pretty interesting to me.
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Micah P. Hinson: This just dropped into my inbox this morning, and I know nothing about it bar two things: firstly, that Micah P. Hinson is fucking amazing; and secondly that the artwork, pictured above, is bloody lovely.
Langhorne Slim: His new album Be Set Free isn’t being released until 26th October, but the new song sounds brilliant. It’s called I Love You, but Goodbye and is a little plusher and more elaborate than his earlier recordings, but unusually, I rather like this. The piano is especially gorgeous – a times eleborate, at times rich and sonorous and at times deft and twinkly. This augurs very well indeed – I am excited.
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It’s about time the big(ger) boys fought back a little, frankly, but it looks like there could be some very promising recordings from some relatively high-profile artists coming our way this Autumn.
The most enormous difficulty with recording this podcast was that it was monumentally, wonderfully, amazingly sunny and hot outside. So there we were, stuck in our house, trying to play songs and conduct an interview while we were all secretly (and not so secretly) longing to just be out in the back garden. Mrs. Toad was making burgers, you know. Gaaaaah!
I remember when FOUND recorded a show with Marc Riley recently and I got plenty of emails saying that they really weren’t very talkative. Which is odd really, because I didn’t entirely get that kind of impression as we recorded this session or about them in general, but then I listen back to it again and the first few interviewy segments really do take a while to get going. I guess it took a while for Ziggy (who I’d never met before) and myself to figure out exactly how to talk to one another and whether or not we really got on. So that whole dynamic makes for a really good podcast, which gets more and more interesting, from my point of view anyway, as the thing progresses.
They even hint at the mighty Cybraphon, their recent creation, but like a fool I don’t really press them on it too much, having no idea what a splendid great behemoth it was going to turn into.
As usual, all the videos are embedded below and can be seen at the Song, by Toad Vimeo on YouTube pages, along with a portfolio of photos by Dylan from Blueback Hotrod, and Fee on Flickr here. The session tracks can all be downloaded below, and the main interview podcast itself is immediately below. Have fun Toadlings. I am going to sleep like a freshly-slaughtered corpse.
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Now we’ve got the main session video below, followed by the videos we made for the individual songs (Vimeo are being fucking useless at the moment, but eventually that main video and Gifted won’t be on YouTube).
01. FOUND – Mullokian (Toad Session) (05.11)
02. Grizzly Bear – Two Weeks (09.27)
03. The Avett Brothers – The Greatest Sum (Acoustic) (13.26)
04. FOUND – You’re No Vincent Gallo (Toad Session) (20.39)
05. Animal Collective – Brother Sport (20.32)
06. FOUND – Medley (Toad Session) (36.00)
07. Phil Collins – In the Air Tonight (44.20)
08. Lambchop – Your Fucking Sunny Day (49.11)
09. FOUND – Anti-Climb Paint (Toad Session) (64.29.)
10. FOUND – Gifted (Toad Session) (72.25)
Apart from being brilliant from a musical perspective, Homegame was brilliant for a great many other reasons. One of which was seeing semi-official Toad photographer Dylan walking around glowing like a well-spanked arse throughout Sunday.
How did this happen? Well, sleeping spots were at something of a premium over the weekend, and Mrs. Toad and I hosted well over a dozen people, spread between two tiny and massively over-populated cottages in the town of Pittenweem. This was all very well, except that on Saturday night, after a prolonged and somewhat industrial drinking session, we acquired a couple of hangers-on. Dylan, having departed to spend the evening with a couple of other friends of ours, returned to the cottage he was supposed to be staying in to find the floor entirely covered in bodies.  Seeing as how he’s actually far more sensitive and nice than you would think, given he reads this pish every day, he didn’t just hoof out the interloper or decide to sleep on top of him, no he spent the night wandering the streets of the East Neuk and eventually fell asleep on the beach in Anstruther.
This would have been fine, of course, apart from the fact that it was gloriously, joyously sunny on Sunday. So much so that a certain gentleman of leeky persuasion spent the entire day with a face as red as our little simian friend in the picture. And there was much tittering. There’s nothing quite so funny as the misfortune of your friends, is there, for some reason. Maybe it’s just gratitude that it was them, not you, who was made to suffer.
I bumped into ex-lurker Dan at Sneaky Pete’s on Wednesday at the Casiotone gig, which was really nice, so do feel free to follow his example and emerge from the woodwork. You don’t have to make any sense or be all that witty or anything, you just have to fill in your five and then natter about total horse manure with the rest of us. And come to Yusuf Azak and Enfant Bastard at Sneaky Pete’s tonight, because it will be brilliant.
1. Beetroot – pickled, roasted, not at all..?
2. Worst sunburn you’ve had.
3. Ever fallen asleep somewhere inappropriate.
4. What is your activity of choice at the beach.
5. Ever cooked a lobster alive?
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I’ve got meetings in Inverness with Proper Job all day today, so everything is going to be a little late, including the Monday listings. Hope there’s nothing unmissable on this evening, but nothing to be done about it I’m afraid.
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Hello, and welcome back to the slowly restarting new year of swearing and complaining here on Song, by Toad. Don’t be too perturbed by the look of the thing. This is not the final design, but as I am not a web designer it will have to do until I can figure out exactly what I want, lay it out properly, and then ask someone to code it for me. That won’t be for a month or two though, so settle in for now and just ignore some of the crapper elements of the design – they won’t be permanent.
In other news, we have some splendid plans for 2009, so it should be another exciting (exhausting) year. We are trying to get Meursault moving and arrange a couple of tours for them, which will be tedious. We have a whole list of new releases for this year, including two Meursault 7″ singles, a split 12″ with the The Builders & the Butchers and Loch Lomond, the Loch Lomond album Paper the Walls is getting a UK release, Maxwell Panther and The Savings & Loan will be releasing records… and that’s just the ones we already know about.
In news more related to this site, rather than the label, we have Samamidon and The Pictish Trail now firmly booked in to record Toad Sessions before the end of January, there are plans to expand our coverage of Pickathon, Homegame and the End of the Road Festival, and of course increase the number of interviews and get a bit more video onto the site, as discussed in the previous thread.
So, I am not one for new year’s resolutions, but I am also incredibly lazy, so that’s what you’re getting for this Friday’s Favourites, as pinched from GUT. If you want to suggest a Five at any point, just email me. The music is taken from five of my favourite EPs from last year, as a sort of apology for not having a list on which they could be included. I’ll try and put that right in 2009, but… ah, fuck it, that’s ages away. Enjoy the new year, Toadlings.
1. Give us a new year’s resolution.
2. Recommend one for someone else.
3. Most anticipated 2009 release.
4. First gig of the year.
5. Suggest a quote for Toad t-shirt of the week. T-shirt of the week you say? Why yes, that’s just what I said.
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The Fightcast? Yes, the fucking Fightcast. Why? Well because mp3 bloggers have been taking it in the arse with some force over the last week. Posts are being deleted left right and centre, so presumably the major labels have decided to declare all-out war on blogs. This is because they are scabby old unwashed cheesy penises. This is not slander, I can prove it with charts and graphs.
Ultimately this is about corporate control of culture. I don’t want to sound like a ranting conspiracy theorist, but put simply, this is how it works: people pay for things they feel passionate about. People feel passionate about art, the creation thereof and the participation therein. Consequently any company vaguely engaged in cultural endeavours desperately wants to own the loyalty and devotion of as many people as possible, and anyone participating in this arena is a threat. Grassroots art has more emotional resonance with people, people are more loyal to and more devoted to it and it is more personal. Due to social networks of all sorts – blogs, networking sites, even something as simple as email - it is an ever bigger and less controllable threat.
They want blogs to exist inasmuch as we provide free market research and free A&R, but if we think we have any influence, any rights, or indeed any genuine loyalty, they wish us dead. Fuck them, fuck their little games and fuck the horse they rode in on. If they don’t want to play with normal people then let them withdraw. Let them take REM and U2 and fuck off. I would rather form a massive great list of small independent record labels that do want to play nicely and only ever cover them and unsigned bands, and let the big boys compete with the X-Factor, if they think they can. Fuck them, let them drown in their own greed.
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01. The Love Language – Lalita (02.20)
02. Honey Claws – Shout Out (07.14)
03. Findo Gask – One Eight Zero (10.56)
04. The Avett Brothers – Murder in the City (23.25)
05. Yusuf Azak – Ursa Major (28.02)
06. Miracle Fortress – Have You Seen in Your Dreams (30.53)
07. How To Swim – From Here to Dundee/Eternity (33.55)
08. Jib Kidder – Flip Flap (45.09)
09. Situationists – Onwards & Upwards (46.17)
10. Yusuf Azak – 19.19 (53.45)
11. The Avett Brothers – The Greatest Sum (Acoustic) (62.02)
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So, erm, yes, this podcast should really have happened on Sunday, but it was so unspeakably bakingly hot (alright, in all honesty it was only about 28 degrees, but it felt much fucking hotter, okay) that there was basically no fucking chance it was going to happen.
