Don’t worry, the chances of me actually playing party music on a Toadcast are about as good as Lana Del Rey getting some semblance of life back into that blank, empty, defeated gaze of hers.
No, in reality this is called the Partycast because we are having the label Christmas Party tomorrow at Summerhall, and so tomorrow I shall be running around all day collecting a PA, and shitloads of absolutely awful tinsel and dreadful Christmas decorations.
Also, rather tragically. I shall be trying my very best (and probably failing) not to get too utterly obliterated because I will have to be up early in the morning to return the bloody PA and get all our merch stuff through to Chambre 69 to try and sell to people of Glasgow in vast, lucrative quantities. But umm… well I think it’s time to accept that I am going to feel like a menstruating badger on Saturday morning.
01. Francobollo – Basketball (00.17)
02. Rick Redbeard – Cold as Clay (The Grave) (06.25)
03. Lil Daggers – Faces & Names (13.21)
04. King Post Kitsch – Every Face (19.29)
05. These Brittle Bones – Blood + Snow (24.09)
06. Matthew E. White – Big Love (30.57)
07. Dolfinz – Yeah Right (38.25)
08. Slowcoaches – Proper Job (40.39)
09. Silverbacks – Orange Light (44.56)
10. King DJ – Hold Me Down (50.14)
11. WTCHS – Adult Crimes (54.42)
Winter has been slow to arrive this year, but it certainly feels like it’s here now. The last few days have been pretty cold, but more importantly when you live this far North, it’s getting fucking dark. It’s not something I dislike, actually. We may not get much real cold in Edinburgh, nor indeed very much which anyone else would describe as Summer, but Edinburgh is at a surprisingly high latitude and during the Winter months it really is dark around these parts.
So there I was sitting at my desk at four in the afternoon and it was already really rather fucking dingy outside, and in the absence of an obvious theme it seemed about as relevant as anything else I could have come up with. And let’s face it, without that this is just a mish mash of new stuff which has been piling into my inbox over the last little while, and where’s the fun in that, eh? Well? Where?
If you happened to play the video above before reading anything written here, I would imagine there are a fair few of you wondering what the fuck I am doing writing about this kind of glossy balladry, but in all seriousness, I think Anchor Bleed is an awesome song. The piano is rolling and gloriously depressing, and the vocals fragile and vulnerable.
I point this out early on, because once I tell you about who wrote it, you might start to doubt my motivations. These Brittle Bones is music made by a fellow based out in Singapore who is thirteen years old. Thirteen fucking years old, and yes you read that right. By an odd coincidence I happened to spend my thirteenth year at school in Singapore as well, and I promise you, all I was doing at that point was being turned down for roles in the school play and wondering why all the girls I asked out just wanted to be my friend instead.
The idea of making music this accomplished at that time in my life was fucking laughable, honestly. I have to mention the back story though, because it’s just so impressive, but there’s a part of me which is annoyed that I brought it up at all. Age shouldn’t really matter; no amount of youth can make shit music more impressive, if shit music is all you have in you.
Jones himself is a Welshman, originally, and for all he may be young, this is clearly not a callow or unsophisticated operation. The music is immaculately well-produced, and the email communications I have received so far have been clean, simple and well-judged, so for all the age thing might conjure images of some ingenue flexing new-found muscle for the first time and not quite sure what to do with it, I get the impression there is a little more to the These Brittle Bones project than just a schoolboy sending his demos out to the world in the hope someone might take to them.
At times some of this music nudges just a little close to being smooth, slightly overwrought balladry for my taste, I am not a fan of the distinctly bongo-like percussion which makes an appearance from time to time, and I guess that overall it does sit right on the border of what I would normally listen to. Nevertheless, there are some absolutely gorgeous moments to be found if you have a good dig through These Brittle Bones’ Soundcloud and Bandcamp pages.
Browsing these and the band’s website shows you someone who loves Daughter and The XX and who, despite being half a world away and probably half the age as well, makes music which I honestly think bears healthy comparison to the stuff from which he draws inspiration. As well as making me remember my teenage years with a sense of total and utter inadequacy.