April Fool’s Day really does bore me to tears.  The jokes are so weak and obvious most of the time that they really are pointless, although Avalanche’s Withered Hand futon did make me laugh.

It’s the forced bonhomie which I find the most tedious, I have to confess. ‘Oh yes, ha ha, very funny, well done you, gosh how everso fucking hilarious’.

And then just occasionally you hear news, like Viva Brother splitting up which, whilst it is painfully obviously an April Fool, is just too close to real, actual good news we’d actually all want to hear to cause any real merriment.

And then there’s the Republican candidates for the presidency of the United States.  Tragic, frightening, comical, and depressing. And sadly not an April Fool’s joke either.

Direct download: Toadcast #220 – The Foolcast

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01. Two Tears – Heisse Hexe (00.22)
02. Magic Eye – Flamin’ Teenage (06.49)
03. North American War – Me & My G.I. Joes (14.02)
04. Palms  – Wolf (18.57)
05. Habibi Band – Sunsets (25.39)
06. Woodsman – Supernal Radionics (30.55)
07. Sex Hands – The Moist Maker (39.25)
08. The Leg – Bake Yourself Silly (43.30)
09. Father Sculptor – Ember (48.39)
10. Kurt Vile – Freak Train (57.09)

11.David Thomas Broughton – Ain’t Got No Sole The first song we heard from DTB’s fantastic album, and perhaps the poppiest of the lot.  Catchy, unusual and immensely hummable.

12.Kurt Vile – Baby’s Arms Another album from which it is tricky to extricate just one song as a highlight, but for some reason I’m giving this the nod above Jesus Fever or Puppet to the Man. I think it’s the most late night and glass of red winey song on the album, but it’s close.

13.The Sandwitches – Lightfoot Are you still allowed to describe songs as joyous romps these days?  Because that’s what this feels like, an idiosyncratic, gleeful romp of a song.

14.Josh T Pearson – Country Dumb It’s hard to pick out just one song from this record, but this one seems to stand out for some reason.  Maybe it’s related to the number of times I’ve heard it and the circumstances, but there’s an unsettling fatalism to this which lifts it above the autobiographical confessional of the rest of the album.

15.John Knox Sex Club – Above Us the Waves This kind of sincere, epic grandiosity is really difficult to pull off without coming across as a bit po-faced or joyless, but this is just spell-binding.

16.Jonnie Common – Summer Is For Going Places There are so many incredible songs on this Jonnie Common album I could easily have picked four or five for the Festive Fifty, but I didn’t want the whole thing to be dominated by one or two artists.  Summer is For Going Places is as laid back and infectious as the rest of Master of None.

17.Crystal Swells – Mellow Californian Another masterpiece of feral, overloaded lo-fi brilliance.  And no matter how messy they make this stuff, Crystal Swells always make sure the pop song isn’t lost, so it may not sound like it, but I reckon they know exactly what they’re doing.

18.Yoofs – John Actor is Monkfish I love the chorus on this, the vocal refrain, how well-controlled the momentum of the song is – and once again we have an unknown DIY band with two songs in my Festive Fifty.  Keep an eye on Art is Hard Records in the new year.

19.Hookworms – Teen Dreams For unheard of DIY bands to produce stuff with this much oomph is unusual.  This is from a self-titled 12″ now out on Faux Discx, and it’s, well, epic, I suppose is the best way to describe it.

20.Easter – Damp Patch For a band with three songs on a Soundcloud page and nothing else, I am a bit wary of over-stating my own enthusiasm for this band.  They have a sort of slow-burn to them, but then that spills over into raucous endings, a bit proggy, a bit krauty and all messy.  This track isn’t their most aggressive, but it’s bloody great.

21.Edinburgh School for the Deaf – Of Scottish Blood And Sympathies Epic, post-rocky, shoegazey awesomeness from a band who threw their biggest beast of a track down right at the very beginning of their debut album.

22.Earth Girl Helen Brown – Girls of My Dreams The weird sense of otherworldly fuzz on this record made it absolutely compelling from the first listen.  It’s like listening to a lost gem from the sixties with a brain so addled you can barely make out the stereo.

23.Jarad Miles – Miles Away Rocketship is a lovely record, and there are some gorgeous, touching songs on it, but perhaps the quietest, most low-key one of the lot caught my attention the most – touching and full of pathos.

24.Pillars and Tongues – Thank you Oaky Grandiose and beautiful, rich and enveloping – if one song sums up why you should own and love this album then I reckon it might be this one.

25.The Sandwitches – Heaviest Head In The West As much as the jaunty, carefree pop songs on this album caught my attention, one of the best songs on the album is this one, which is both far darker and contains one of the most arresting, enigmatic squeals in pop history.

26.Elbow – Lippy Kids I am not all that into the new Elbow album, but this track is an absolute blinder.  It’s gorgeous, and contains some of Guy Garvey’s most poignant lyrics.

27.Crystal Stilts – Shake The Shackles It wasn’t all that consistent an album, but there are some cracking songs – sort of like the Ringo Deathstarr album in that sense – and this is the best of them.  The crooned delivery almost has a New Romantic edge to it, but the rest of the song is shoegazey, garagey goodness.

28.FOUND – Machine Age Dancing The wonky breakdown in this had me sending text messages to the band the first time I heard it.  Songs like Vincent Gallo and Anti-Climb Paint may have been well familiar to FOUND fans by the time Factorycraft came out, but they kept plenty of gems to themselves, and this is one of them.

29.Tom Waits – Hell Broke Luce This is far from a vintage album, but the deranged crashing about of this song is probably as close as Bad as Me gets to vintage Tom Waits.

30.Palms – Wolf Despite the really, really rough recording (those cymbal crescendoes actually quite hurt my ears) this is still clearly a brilliant song.  It’s a more brooding approach to garage rock (and I use that term, as with all genre terms, extremely loosely) than some of the more frantic stuff I’ve heard this year, and is a song I played something like ten times consecutively the first time I heard it.

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1-10 | 11-30 | 31-50

 So, ta-daaah, here we go, what all right-thinking people have been enjoying most this year.  And if you haven’t been enjoying these most this year, then dammit, what do you do when I tell you what opinions to have about music, ignore me?  Surely such a thing is inconceivable.

As those of you who listened to last week’s podcast, where I played two songs from the more forgotten albums on my first ever Albums of the Year list (2004), I am actually more fascinated by these lists in retrospect than at the time.

Looking back at this list in five or ten years, the interesting albums won’t be the ones I am still listening to, but the ones I am not.  I am sure practical details, like whether I have them on vinyl or tape or just digitally, will play a role, as will drifting fads and fashions.  But sometimes it really does just seem to be random – albums just drift out of favour for no really obvious reason.  Or, as has been the case with Kurt Vile this year, some albums seem to remain favourites for ages, despite not necessarily being the ones which grabbed you the first time.

So enjoy, this is what I have been mostly enjoying this year.  And a fine list it is too, I hope you will agree.

 10: The War on Drugs – Slave Ambient This is a very late entrant to this list, because for some reason I didn’t really listen to this album at all until the last month or two, but it’s bloody brilliant, managing to drift from ambient dreamers to Springsteen-like rockers to melancholy acoustica perfectly seamlessly. And the other joy of it is: another back catalogue to explore, too!

The War on Drugs – Your Love is Calling My Name

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 9: Pillars & Tongues – The Pass and Crossings This is a stunning album from what I think must be my favourite record label of the year: Empty Cellar.  They have released three albums in my top twenty this year, and worked with the artist who released another, and that’s before we get into the singles.  This album is grandiose, beautiful and all those words like sweeping and elegiac which journalists love to use so much.  Except in this case it actually is.

Pillars & Tongues – Palms to Tell

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 8: Milk Maid – Yucca This record is actually a collection of lo-fi home recordings, but somehow the end result has got real style. Not charmingly rough and ready style, although it has that too, but a real sense of swagger.  It’s not as frantic and noisy as a lot of its lo-fi brethren this year, either.  Recording Milk Maid’s Toad Session was probably one of my favourite things this year.

Milk Maid – Can’t You See

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 7: The Sandwitches – Mrs. Jones’ Cookies A little like Sonny & the Sunsets, this album doesn’t entirely click on every single song, but it does on most.  And beyond the pop tunes, there’s a wild, wailing quality to this which had me scrunching up my face in incomprehension for the first few listens.  ‘What the f…  did they just… are they…serious?‘ It didn’t take too long for it to click though, and I have since been foisting this record on visitors to our house all year.

The Sandwitches – Summer of Love

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 6: David Thomas Broughton – Outbreeding This is a disciplined and polished pop record from a man more commonly known for spending most of his gigs figuring out just how much he can antagonise his audience before they give up altogether.  A favourite of mine since I first saw him at the End of the Road Festival in something like 2008 or 2009, I couldn’t have been much more surprised by this album, but it’s fucking brilliant nevertheless.

David Thomas Broughton – Nature

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  5: Kurt Vile – Smoke Ring for my Halo I am getting into ‘every damn list on the internet has this album on it’ territory here, but balls to it, I still love this record.  I actually struggle to explain why though, because it’s not gripping, weird, striking or anything.  It is, in fact, an entirely straightforward collection of songs crooned over fairly minimal guitar, bass and drums, at a relatively middle of the road pace.  But for some reason I find the whole album one I have gone back to again and again and again all year.

Kurt Vile – Puppet to the Man

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 4: Crystal Swells – Goethe Head Soup This is one of the mostly ferociously-recorded things I’ve heard all year, with barely the slightest quarter given to the listener’s more delicate aural sensibilities.  But underneath all the buzzing, distorted racket, and despite the headache-inducing nine-minute kick in the ears that is the title track, this mini-album holds a half dozen of the finest pop songs I’ve heard all year.

Crystal Swells – Waco, Wasilla, Waikiki

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  3: Jonnie Common – Master of None Pure genius, this one.  This album has charm to spare, but it’s not as straightforward as it seems.  The actual sounds Jonnie uses in assembling his songs are really quite unusual, but the results are pure, joyous pop.  He seems to have pulled off the trick of being an experimental musician, but keeping that fact completely undercover, and making us all think he’s created the pop record of the year.  Which of course he has.

Jonnie Common – Hand-Hand

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2: Timber Timbre – Creep on Creepin’ On I don’t know what it is about the ghostly voodoo stuff these guys do which I love so much.  Certainly with the increasingly deep arrangements there is a certain theatricality to this record, but then instrumentals like Obelisk and Swamp Magic could as easily be found in one of Tom Waits’ more flamboyant nightmares as they could on the stage, or indeed a contemporary pop record. Creep On Creepin’ On is never pompous or overblown though, and displays a remarkable deftness of touch, particularly with the more

Timber Timbre – Creep On Creepin’ On

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  1: Josh T. Pearson – Last of the Country Gentlemen I hesitated a long time before putting Last of the Country Gentlemen at the top of this list. Apart from the fact that at times the word enjoyable isn’t exactly the right one to apply, the whole album seems to belong in a slightly different category to everything else.  It’s just different to all the other albums, and it feels difficult to actually compare the emotional response to this to the emotional response I’ve had to everything else.  But in the end, between SXSW, Homegame, an aborted and a successful Toad Session, the number of times I’ve heard these songs and the effect they’ve had on me, there is little doubt that this, even if it isn’t my favourite album of the year per se, is still the album which dominated 2011 and is almost certainly the album by which I will remember it.

Josh T. Pearson – Thou Art Loosed

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11-20

 Man, last night was nice. Really, really nice.  Even though we had to do a big shop at the supermarket so we can feed my bloody mother when she visits this weekend, and even though we spent ages emptying our overflowing recycling bins.  Even though Mrs. Toad spent a long time on the phone counselling one of her best friends.

It was nice, because after all this, we opened a bottle of wine and sat in the living room, played records and just chattered about fuck all for about three hours.

Mrs. Toad is away a lot with work, and I am out a lot of evenings, either at gigs, meeting people about music stuff, or sometimes just on the lash so we actually don’t get as much time together as we should, especially considering we have no kids.  We don’t really watch the telly but we do have a bad habit of lying in bed, both wasting time on our respective laptops, which is a bit stupid really, but so easy to lapse into.

As a consequence, it is such a treat to just put a record on and sit on the couch together and talk.  Even if it’s basically about fuck all, which in all honesty it generally is.  We actually became friends by doing stuff like this, you know.  Back when we were fifteen years old and she was way too wild for me and I too square for her, we still managed to become good friends, and whenever one of us was having a personal drama we’d lie on the couch and listen to Bob Dylan records and talk shite for hours.

Even when we first got together as a couple we’d do the same.  I’d take the train up from London to come and visit her here in Edinburgh, I’d bring a couple of new mix CDs because her previous fella kept all the music in the breakup, and we’d get slowly pickled, sitting on the couch and listening to music.

And funnily enough, you know, the records we listened to last night sort of fit nicely into this ramble, because one of them happened to be Micah P. Hinson & the Gospel of Progress which I just so happened to play all the time when we first got together and Mrs. Toad would come down to London to visit me, when I was living on a boat down there – in fact, if I recall, at the time she said ‘Jesus, you don’t half listen to some depressing shite.’  I don’t know if she made the connection last night, but I did.

We also played some Kurt Vile: God Is Saying This to You, which I bought in End of an Ear Records in Austin, when we were at SXSW this year. That was the shopping trip where we both went wandering around the shop separately, and both came back to the counter with a Pavement record.

I don’t know if vinyl is better than CDs for this sort of thing, but it feels like it to me.  It certainly feels better than a playlist on iTunes.  There’s something about the ritual of vinyl, a bit like the ritual of a bottle of wine, which is much less of a guzzling drink than, say, beer.  It seems to fit with the deliberate, unhurried nature of spending an evening together doing nothing.  It’s sort of like the slow food movement I suppose, purposely slowing down and taking the time to enjoy something.  Playing records, drinking wine, talking pish.

I like Mrs. Toad, you know.  I really do.

Micah P. Hinson & the Gospel of Progress – Stand in My Way

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Kurt Vile – Red Apples

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 As you’ve probably noticed, I haven’t exactly been overflowing with new music this week.  A large amount of this is down to the fact that it’s been the sort of week which has been constantly disrupted, meaning I’ve had almost no time to sit down and properly digest anything.

I have noticed an unusual number of people pushing their mewling progeny around the streets of Edinburgh with the buggy in one hand and their mobile phones in the other, squawking away like over-excited fucking geese. I wonder if there has been a recent rise of babies with phone-related facial injuries due to their idiotic fucking parents not paying attention to where the fuck they’re going and driving them into road signs, parked cars, bins and the knees of passing strangers.

“That’s the best we can do, son, I’m sorry.  I’m afraid you’re going to be scarred for life.”
“*Gurgle, giggle, splutter* Why’s that doctor?”
“Because mummy and daddy are a pair of stupid fucking cunts, kid.  That’s why.”

Also.  Old people in the post office.  Jesus fucking wept.

Anyway, Friday is the delurking amnesty, as you probably know by now, so feel free to come out of the woodwork and say hello.  I have done ranting about people now, so I promise I’ll be nice.

1. Favourite fictional detective.
2. Favourite fictional rake (and by this I mean rake as is rakish, not as in the garden implement)
3. Favourite fictional hapless sidekick.
4. On-screen couple with the worst chemistry.
5. Worst duet pairing in musical history.

This week’s five songs are straight from my inbox, so a little more current than usual.

Fair Ohs – I’m a Woman, I’m Your Wife

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Sea Pinks – Fountain Tesserae

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Steel Phantoms – Bedouin

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Girl Muscle – I Don’t Wanna Know

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Kurt Vile – The Creature

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This is called the Fullcast for no better reason than that I tried to fit far too many songs onto the playlist.  I’d have used half the Palmist Records stable if possible, but eventually decided to settle for one single track.  There’s always next week.

I didn’t even make room for a song from the new Clap Your Hands Say Yeah record, although to be fair I haven’t really listened to that enough to actually know what I think about it, so maybe that would have been hasty.

If anything this reminded me of the really early podcasts, when I tried to squish two hours of music into a single recording, and the things were just sprawling behemoths of wittering and tuneage.  I can’t say I regret the decision to trim it down to either ten songs or an hour.

Direct download: Toadcast #191 – The Fullcast

01. Beaters – Dark Haunter (00.22)
02. Body Wash – Cool Bike (06.34)
03. High Pop – For Jord (08.23)
04. Django Django – Waveforms (11.35)
05. Steven Malkmus & the Jicks – No One Is (As I Are Be) (17.31)
06. Milkshakes – Track 1 (24.57)
07. Kurt Vile – The Creature (27.37)
08. Ezra Furman & the Harpoons – Don’t Turn Your Back on Love (34.41)
09. Steel Phantoms – Bedouin (41.50)
10. Eagulls – Possessed (47.24)
11. Sands – Fares & Tolls (53.15)
12. U2 – Lemon (60.17)

Snooze!  Yes, a genuine, proper weekend snooze was had this morning and it was fucking amaaaaazing!  I haven’t actually had the chance to lazily sleep in for fucking months and it was an enormous pleasure.  And not even a guilty one, because I genuinely don’t have to rush about being efficient today.  Awesome!

This week’s podcast contains a fair bit of plugging, I have to confess.  Not all for myself though.  I plug the Kurt Vile tour, Jonnie Common’s Deskjob as well as his new album, the new Oates Field album and the new album by The Leg.

Then, just for good measure, I also plug the upcoming Ides of Toad gigs, and two new releases on Song, by Toad Records.  I hope it doesn’t get too much for you, but I don’t think so, because all the songs are very good and hopefully you know me well enough by now to know full well that I don’t plug anything I don’t genuinely like.  So there.  Enjoy.  That’s an order.

Direct download: Toadcast #190 – The Snoozecast

01. Jonnie Common – Infinitea (00.21)
02. The Oates Field – Nae Luck (09.50)
03. Adam Balbo – Just Singing a Song (15.37)
04. The Leg – Twitching Stick (17.22)
05. Kurt Vile – IN/OUT Blues (23.40)
06. Easter – Damp Patch (30.03)
07. Trips and Falls – I Learned Sunday Morning, on a Wednesday (38.41)
08. Rob St. John – Your Phantom Limb (41.39)
09. Sea Pinks – Fountain Tesserae (46.47)
10. Tuesday Glass – Franklin (50.16)
11. John Knox Sex Club – Above Us the Waves (59.23)

This podcast is all about our week’s record shopping in Austin, although I promise I am done going on about SXSW, so those of you bored to tears by the whole business are entirely safe, I promise.

We did buy a fair bit of vinyl while we were over there though, whether it be directly from the bands at their shows (usually whilst still pished and giddy from enjoying the gig) or on one of our particular excursions to either End of an Ear or Waterloo Records.

There is such pleasure to be had from poking through rack upon rack of vinyl, and whilst I have no real quibble with digital music, I think the sheer ritual and physical relationship it sacrifices can’t really be matched in the digital realm.

Direct download: Toadcast #167 – The Shoppingcast

01. X-Ray Eyeballs – Crystal (00.22)
02. The Magnetic Fields – All the Umbrellas in London (08.15)
03. Sparklehorse – Homecoming Queen (11.33)
04. The Coathangers – Chicken 30 (17.35)
05. Lost in the Trees – Walk Around the Lake (24.30)
06. Kurt Vile – My Sympathy (32.44)
07. Pavement – Range Life (35.15)
08. Warm Ghost – Open the Wormhole in Your Heart (43.57)
09. The Books – The Future, Wouldn’t That be Nice (50.19)
10. Deerhunter – Earthquake (58.27)

I was warned by my pal at Matador who sent this through for review that it is a bit of a grower, and so it proved.

I have to confess I thought immediately that a warning like that basically translated as ‘this album is a bit boring, please be generous’, and for a good while that is basically how it turned out to be. I struggled to adjust to the diminished variety of arrangements when compared to Childish Prodigy, which was my introduction to Vile’s music.

The songs asserted themselves though, albeit slowly.  For me he seems to possess that crucial quality which distinguishes the really good singer-songwriters (for, accepting the broadness of the term, that’s kind of what he is, backing band or no): his delivery and his music just have innate charisma.

Even though all he is effectively doing is strumming his guitar or, on occasion, making it growl, there’s just something kind of magnetic about it.  I am not sure I would put it on if I were doing other things though, particularly this album, as it is easily lost to a lack of attention.  And for all it most certainly is a grower, there are still some bits and pieces which have not yet grown on me at all. In fact, unusually, the second half of the album is the stronger, in my opinion, with the brilliant Runner Ups, In My Time and Peeping Tomboy and the title track itself flowing beautifully into one another.

It is a dreamy, meandering record, this.  And the vocals are so reverby that for all I catch snatches of lyrics here and there, and the images that they conjure are compelling, it is not really the whole narrative of the songs that I am responding to here. Like the music, I drift into inattention, only to be gently pulled back here and there by shifts and changes, adjustments in rhythm, a turn of phrase, something like that.

It may grow on me to the point of think it is great, but for the time being there is still something of a muddy fug over this album which is keeping some of the songs from making a proper impact, but those which manage to make themselves clear beyond it hint that there might well be an awful lot still to discover as the shapes in the mist slowly coalesce into something more defined.

Kurt Vile – Baby’s Arms

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Kurt Vile – In My Time

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Website | More mp3s | Buy from Matador Records

After enjoying the Vinylcast I recorded a couple of weeks ago, I’m afraid I wasn’t able to resist the temptation to come bacl to my record collection for this week’s podcast as well.  In fact, I think I can safely say that this is now something which is going to become a regular feature of Song, by Toad podcasts because… er, well just because it’s fun I suppose.

This week I went to the Shelter charity shop on our street and bought about half a dozen records: some Bessie Smith, Shirley Bassey, Ella Fitzgerald, Kid Thomas and his Algiers Stompers, and a couple of old Dylan records.

If I end up ever developing a taste for jazz I am pretty sure I will be able to trace it directly to a sense of misplaced nostalgia, and the charity shops of Scotland.  I am a long way from being a jazz fan, but there’s something so fitting about the crackle of vinyl on an old jazz record.  I never used to listen to this stuff as a kid, but for some reason I get a nostalgic feeling from listening to it now.

Direct download: Toadcast #159 – The Vinylcast 2

01. The Meteors – Wrecking Crew (00.22)
02. Kurt Vile – I Wanted Everything (07.16)
03. The Ad Libs – He Ain’t No Angel (15.01)
04. Tom Waits & Crystal Gale – Little Boy Blue (17.39)
05. The Velvet Underground – Stephanie Says (24.07)
06. U2 – Twilight (29.00)
07. Girls Names – Graveyard (33.19)
08. Rene – Destination: Mars (40.00)
09. Ambitious Tugboat – Age Rings (43.07)
10. Manners – My Will (48.27)
11. Otis Redding – Pain in My Heart (56.36)