A Guide to How to Listen to the Monday Graveyard

Since the show started back in December 2013 there have been a variety of different components to the show and how to listen. With the advent of the download version this week you can now listen in tonnes of ways. To help with this, I've written this blog post to clear a few things up. 

Listen Live

You can listen to the show live in two ways - on 98.4FM in the south of Glasgow if you have an old school radio, or online via a stream. There are two ways to stream - from the Pulse website or through the Tunein Radio app. The Tunein Radio app is the best - just search for the station.  

The show airs 11pm to midnight on Mondays.  


There are two options for streaming the show now. You'll find the entire back catalogue of shows on Mixcloud with social features and comment boxes as well as the artwork for each show.  

The second is here on the blog on the Podcast page.  


You can have the show magically appear every Tuesday morning at 6am in your podcast feed by adding the show to your podcatcher application. We are currently working on being added to a range of directories such as iTunes, Tunein Radio, Pocketcast, Beyond Pod and others but for now you'll have to manually add the shows podcast feed url to you app. Simply copy the below link to your catcher (normally found under a "subscribe" option) and that'll set it up.  


If you are having issues please let the show know and we'll get on trying to sort it out. Thanks for listening! 

Podcast Terms, Conditions and Caveats

Thanks for downloading the Monday Graveyard with Mark Shields as a Podcast. It means a lot to me that you are listening and hopefully enjoying the show. To enable the show to have the podcast feature there are a few terms that you agree to if you download the show. Don't worry, they're not too stringent. Jus play nice, okay?  

As a Listener
The first is that you agree to not share the podcast native file outside of the feed. This is important as you'll find out. Please, if you want to share the show share the link to the official feed and not the file you're downloading or streaming. 

The podcast is covered by the same creative commons that this blog and site is covered by - you can share as long as you link back to the original source file, you don't modify it, and you do not use it for commercial purposes.

Please support the artists that I feature, if you like their stuff. I try and buy as much as I can, but the show costs me already each month more than you might think. If you buy one thing per week you stream (even a single track, say 99p) that is going to help them make the music we enjoy.

That is all I ask.  

As a Featured Artist
If you're an artist who finds their music on the podcast that means I am a fan, but I am also a creator, and a proponent of copyright. It isn't a perfect system but it's the only one we have to protect your art. If you want me to remove your music from my show's download, stream, or not play it on the radio, I will gladly do so as soon as I can, and will update the mp3 source file for the download.

I am just a fan sharing your music and I am not here to gain anything from the show beyond maybe some new fans for your music. Please let me know.  

Please contact the show if you have any questions or comments about these terms or are an artist looking to get in touch.  


The Monday Graveyard Podcast

Monday Graveyard is now a Podcast


So after some serious deliberation the show is now a downloadable podcast. Each Tuesday AM the show will magically make its way into your selected podcatcher. It's a big deal.

It will officially start with this week's show, episode 47, but you will find episode 46 on there as a test.

A few caveats - the show is supporting artists, and by making this a podcast I am attempting to widen the reach of the show by making it easier more likely for those who want to listen to be able to listen. If any artist objects, I'll cut them out as per their wishes. I am a fan trying to make more fans. 

The other is that you should share the the show far and wide. Please. I want this to make the show wider and larger and more widely listened.

So how to sign up? Well, it's easy. You will be able to find the show inside iTunes once they approve it, and you can add the "RSS" feed by coping the following into your podcatcher.



I've detailed the Podcast Terms and Conditions here. Please read them, if you get a chance.

The Show Going Forward

You might have noticed last night if you're a live-listener (oh hi! *waves*) that there wasn't a new episode aired last night. Actually, to be honest I don't know what was aired in place of the show; if it was a prerecorded episode from the past, or it was a different show. Don't worry - the show's still alive. I just need to set a few things straight.

The first thing is that I always planned on doing live episodes following the end of the Paternity run. It was always going to be hard, and I mentioned it in the past that if it wasn't working something would have to be sorted out. The second thing is that I absolutely love doing live shows. In fact, I love it so much this hasn't been an easy decision, but a nessecary one.

The bottom line is that I am going to take a step back from doing live shows. Instead, I'll be recording a weekly podcast style episode that will be airing at 11pm on Mondays instead. This is because I just can't balance being up until 1am every Monday when every other day of the week I am getting up for work at 5am and going to bed at 9.30pm. 

How long will I do this? Well, probably until the end of January at the very earliest. This is because over Christmas and new year I'll be going home to Canada for three weeks, in there will be a run of prerecords there, and then a few weeks after that to grab the jetlag back before I even attempt a live show again.

The downside is that there has been a big drop off in engagement on the show since the paternity run, especially on a live basis and also listeners to the show after the fact. The Mixcloud numbers, which were around 40 to 60 listeners per show are now down to 10 to 20 which is shame, but understandable. I want to focus on the show as an outlet for music showcasing, with this blog as an outlet for more content and a bigger push for the show's brand to an extent, and by making sure I have a show broadcast and ready to go prior to the Monday night gives me more flexibility to do this.

I've managed 48 weeks of continuous shows with only two (including this one) missed shows, so I think that's a pretty impressive run, and by moving to prerecorded shows I can make sure that there is a show ready to play out no matter what happens on Monday.

So yeah, I hope you stick around listening either live or on the catch up. I love sharing the music I play with you all, even if there is only a select few of you. 

There is one massive upside to doing them prerecorded actually, and it's an idea worth ending this post with - I am suddenly able to have live guests and even live music sessions on the show. That's an avenue I'll be exploring in the new year.

Thanks as always for listening.

Monday Graveyard in Absentia 1

Whilst I am away, I am still discovering new music. To scratch that itch, here's the first of a few Monday Graveyard in Absentia Spotify playlists.

This features Dalhous, Remember Remember, North Atlantic Drift and Markus Mehr. Expect these to show up in series two of the Monday Graveyard.

Listen to the playlist below, or Monday Graveyard in Absentia 1 (08/08/2014).

Episode 33 Companion

A few years ago I stumbled across an un-labeled CD of my own making, back when making CDs was today's equivalent of making a Spotify playlist. I listened to the entire tracklisting, as if it were a timewarp, and also pretending it was a test: at some point in my life these songs were the ones I wanted to listen to... could I remember them all? The answer was, amusingly, almost yes.


I bring this up because doing these companion blog posts for each prerecorded show is a good way of keeping in touch and making sure each show has "worked", but also as a funny way of seeing if I can even remember recording the shows. Last week's "first" PR episode was easily the worst. If you have been here since the beginning, the show started out as a prerecorded show, before growing up into a live experience that you hear now. The thing was that I had de-learned how to use the Studio 2 system (which is far more complex than that of the Studio 1 desk by a long way). 

What it meant was that each show ended up sounding slightly different, because all it takes is a slight move of one knob on the desk (which is a plethora of different settings) that I honestly don't fully understand how some of them work. Some episodes sound better than others - this week's sounds amazing. Something was set up prefectly.

I played a few really great tracks tonight; the Xela album is brilliant, and the Christopher Bissonette track is one of my all time favourites. Also, how about that Ancient Astronaut track? Almost trip-hop post-rock?

Thanks for listening to the show as we go through this break and thanks for reading these posts. Get in touch, please, let me know how you feel the show has been going.

Why... Mixcloud?

This is part of a series of posts where the Monday Graveyard answers a common question. Want to ask a question? Contact the show.

One of the main things that makes my show even slightly possible is the fact that it’s recorded and able to be streamed online after broadcast. It’s mostly because I know that almost no one listens to the show live on Fm in Glasgow, most who do listen live will be listening on the Tunein Radio application or via the stream online, but even then live on a Monday night, 11pm to midnight, is late. I know this.

In fact, the only reason I am in this game is actually because of Mixcloud – I was told by a friend who operates his own radio over in Edinburgh that they allowed radio show uploads, and then I was all over it in a matter of weeks, starting the Wednesday Graveyard. The reason was that I am very aware of music appropriation – that you can’t really be allowed to use peoples art for gain without them keeping control over it, or at least being able to get a gain from it. Pretending otherwise is crazy.

As a music fan, I rarely download illegally anymore (though there was a time in my life I did… a lot). I don’t buy as much music as I used to do (2 albums a week was a common theme when living in Aberdeen) but I do stream it legally. Now, there’s plenty to be argued against doing that as an ethical way out of buying stuff, but I do buy stuff I like. But uploading peoples music to be then downloaded (either as a podcast/stream) or otherwise seemed like a really strange way of doing it.

Mixcloud on the other-hand doesn’t let you download, only stream, and they do pay PRS to the artists on the playlists (I’m told, though who really knows).

So yeah, that’s why Mixcloud. It’s a way to support the artists, it’s actually quite a good site now (when I first started using it it was a bit ropey) but otherwise it’s pretty impressive.

You can find all the Monday Graveyard episodes on the Mixcloud by clicking here.


Episode 32 Companion

Listen to Episode 32 here.

The pause in live shows is here, and for that I am simultaneously happy and sad. You see, I love doing the live shows. They are the life blood of the show, in my opinion, and they are what makes doing this show so enjoyable for me. I might joke on the shows that I don't get any texts, but I have a loyal band of friends, fans and DJs who listen each week, and when they get in touch (live or otherwise, of course) it is a thrill. I love the reactions to the shows, the music I play, and the themes that I work into the show. The LAPD show, for instance, or the Micro Label show we the exact reason I wanted to do this show on Pulse.

Now, for good reason, I have had to stop doing the prerecords. It is one of the reasons I started doing these companion blogs, actually, because they were recorded well in advance of their airing - this episode, the first, was recorded back in May (!) and it feels odd to be so disconnected from the show and what I am playing out.


I am happy though to not be at the station at 11pm on Monday nights; I need the sleep. You have no idea how tired I have been ever since starting the show in December (my wife will attest to that) and considering that the show was commissioned the same weekend that we discovered we were pregnant, it's nice to have an early bed on Monday night...

...well, a relative early bed. I did listen to the show, in my bed, but not having to drive home from the station at 12.45am is a good thing.

This week's show was an odd one - at the point of conception I'd still not 100% confirmed my approach, and the tracks were mostly off-cuts, unused tracks from the previous 24 or so shows. This gives it a bit of a disjointed vibe, but it holds together. The centrepiece of the Matthew Dear track works better than I thought at the time.

Please, stay in touch. I spent a lot of time on some of the shows, and there's a few crackers coming up.

Episode 31 Companion

Listen to Episode 31 Now

Sometimes, doing a Scottish based show can be quite daunting. I find that doing these shows that are localised draws upon a little bit of the difficulty of modern music listening, because without borders I can just plug into musi from pretty much anywhere in the world immediately. The electronic music genres are really easy to suffer from this issue, buecase they (in most cases) don’t do endless gigging to build up a fanbase, unlike indie or rock based artists. As most of the music I listen and pla to laptop artists or artsits that process their work a lot, live sessions rarely are seen. I’ve seen a few amazing counter-cases to this, of course, but that community isn’t as strong with certain areas.


It is therefore sometimes hard to pull out some artists you like from an area. For this show, however, I kinda loosened my original goal of “new” music from Scotland, unlike the previous show, and I just popped on a load of stuff I like. That’s why there’s loads of Boards on the show (more than I said on air) and a few other older tracks that I have kicking around the playlists.

Anyway, this week was fun and also features some new artists too – LAW, for example, Cloud, or even Infant Telethon. All worth while checking out.

I’ll see you at the prerecord next week.

PS. That is my dog, Uncle Frank. 

Episode 30 Companion

Listen to Episode 30 Here.

A few years ago I used to do my own home-grown podcasts known as the Wednesday Graveyard. I did this as an outlet for my love of music and also as a way to have my own radio show. In fact, recently using Timehop I found a tweet from five years ago where I ask someone to give me my own radio show, which I know have. Neat, huh?

Anyway, I did this mostly for my friends and such, and this meant that it was a pretty closed and small feedback loop, but still it was nice to get some comments. A friend, Laura, challenged me (or asked me if I had considered it, which I had) to do a show featuring female only artists, and I did. You can listen to that below, and I still think it's a really good episode despite the meandering of my chat and voice during the episode.

Fast forward a few years and I now have a show on FM radio, and I had considered a female artist show before but when Fragile X was on the show he asked if I had done one, and I said no, but that I had been planning one.


You see, here's the thing - I don't really think about the sex or gender of the artists that I play out. Some times when going through a playlist I will notice that there are a lot of men on the list, and I can imagine that the metrics on the number of female artists I listen to and have played out won't make nice reading. I do, however, realise that there are loads of fabulous artists out there and the gender doesn't make any difference to me in that I am neither bias against or for them but that, as a man on radio, I am actually part of the problem.

I ask myself, almost every week, why don't I play more female artists when some of my favourite albums of the past few years have been female artists? Is it because I'm inherently sexist no matter how hard I try? Is it because I am blithley naive, as a man, and don't even notice it? Or is it that there just isn't the number of female artists compared to male artists, either making music or with exposure? If that's the case, why the fuck is that the case?

I can't tell if it's a good thing that I have done a female spotlight show, or a bad thing that I even have to do one. 

Well, I don't know. I don't know why that's the case. But this episode, number 30, is one of my favourites I've ever done. As you may note, in my voice there is a tone of almost religious reverence, and that's because the music genuinely blows me away.

Find some links below to the episode's featured artists and support them and the show, and always thanks for listening. I am trying to make the world a more equal and better place, but sometimes, as a man, I fear that I can't do it alone. Oh, and I'm about to be the father of a daughter, so I am terrified of not doing the right thing. Let me know if I have.

Near the Top

Mixcloud, where the listen again episodes are hosted, added a new feature a few months back that created charts based on the tags that I add to the show. This means that there is a chart online of where the show, based on listens and likes, in the seven days since it was uploaded.

It is fun seeing the show rise in some of the charts, but the best thing is seeing it appear higher and higher as then peaking before dropping out.

Last week's episode, episode 29, has managed the incredible feat of making it to 37th in the Ambient chart, 12th in the Chill Out chart, and number two in the World in the Experimental Ambient chart.

Number two in the world. 

I am understandably chuffed with that, so thanks to all and everyone who listened. Last night's show, episode 30, will be uploaded later on this week, mostly likely tomorrow (I am busy tonight, it being Canada Day and all).


Episode 29 Companion

Listen to Episode 29 Now.

Each episode is tackled differently, each week, and I try to mix up what each show is going to feel like when listening live. Most weeks end up being a bit scattershot, or others are planned well in advance and end up being pretty impressive, but mostly it is just a scattering of tracks that seem to make sense when putting them together, and if I can weave a narrative together for the episode then that makes it better.

For this episode, however, I had the playlist set for several weeks and had been playing the show's tracks almost nonstop for the days leading up to the show. This used to be the case almost every week, but now with the Paternity Prerecords in full swing I've had anywhere from three to six shows in my head at any one time, and focusing on one show isn't an easy task.

This week though I had ran out of prerecorded episodes, reaching PR7 on Sunday, and that show had been playlisted weeks in advance. Now, I was ready to reboot the PR series with new tracks and new playlists, and as of writing this post it's up to PR13 now, which is likely to be the last prerecorded show anyway, which is great.

And that is the story of episode 29. 

Amazon Links for Albums Played on the Show:

Episode 28 Companion

Listen to Episode 28 by clicking here.

Welcome to the second companion blog post for this week’s episode. It had been a very warm and busy week leading up to this week’s episode that involved a load of cleaning of my house, building a nursery for the coming bairn, and a whole host of other things. To celebrate the asontishginly warm few days we have been having here in Glasgow and the rest of the UK I compiled a rather gloriously chilled out session for Monday’s show.

Following last week’s “nonsense” of a 32 minute song, I returned the show to it’s more normal format, with a 12 minute long track from Illuha and another from Chiehie Hatakeyama and Hakobune that pushed 23 minutes. However, the show was a non-stop show packed with 59 minutes of gloriously trippy and chilled out music, and I hope that it’s vibes were perfectly matched to your feelings, and that the heat and the subsequent lethargy was complimented by the cooling sounds of the artists I played.

Speaking of which, I had two labels of the week this week. Read a bit more about them below:

12k – Home Page

Formed by Taylor Dupree in 1997 as a place for minimal electronic music to be housed, 12k has featured a lot on the show in the course of the run, and will continue to do so as the show continues. Not only work from Mr Dupree himself in some case, but this week featured releases from Illuha and their 2014 album Akari and Fourcolor’s 2006 album Letter of Sounds both coming from 12k. Check out their homepage and check out the links below to releases on Amazon if you want to support the show – 5% of each sale goes back into the Monday Graveyard fund.

Denovali – Home Page

The times Denovali have been featured on the Monday Graveyard are too numerous to even be possible to comment on, but the label features favourites such as new signing Matthew Collings, this week’s play from Talvihorros, and others such as Field Rotation, Floex, Origamibiro, Petrels and Poppy Ackroyd. I have promised a Denovali based show, but due to the upcoming break, it has been hard to fit into the show’s planned future, and so I’m dripping stuff into the show right now and in the next couple of weeks. One thing I will say – keep an eye out for Swingfest, Denovali’s festival of their music and more. A 2015 date in London is planned, and in October there’s a date in Essen.

All that there is to say is thanks for listening to the show, share it around, and comment on the show in the usual ways. Use the links below to check out music from the artists played and support them and the show, if you can.

Episode 27 Companion

Listen to Episode 27, from 9th of June 2014

This episode was to do one thing – play BVDub. I had been saying for a long time, and maybe since way back in the beginning, that I wanted to explore the limits of what radio could afford me in terms of long form music, and this track had been looming for months and months, tempting me each week. The issue with playing a track that is 30+ minutes on what is essentially a 58 minute long show is that is certainly more than 50% of my running time. In fact, in this episode, the issue was that I had even less time, around 56 minutes, so my 58 minute playlist of music was going to be truncated by quite a bit.

The reason that had me stalling playing the music on the show was simple – I had music I wanted to play first. As you may notice, only three other tracks were played in this episode, which is something that was hard almost every other week, and the long form tracks would drop out in favour of playing more from other artists that I really fancied.

However, because of the Paternity Pre-records I was being super proactive in developing playlists for the upcoming shows. I had, at one point, seven live shows and four pre-recorded shows planned out, which meant that instead of being one or two weeks ahead of myself, I was able to consider the future of the show, and if each episode is taken as a microcosm, the whole “season” of shows must be taken too, so that enabled me to decide where to place the 30 minute long song.

As you may notice now, I spend an inordinate amount of time playlisting my shows. It’s not as haphazard as you might expect listening, nor as off the cuff. In fact, recently, I changed how I make and construct the playlists – before, I used to have more than a full hour of music, around 65 minutes, and knew that a few tracks wouldn't be played. Indeed, in a past episode, I added these two missed tracks to the end of the show as a Podcast Extra. Now, however, I aim for somewhere between 54 and 58 minutes, because that not only means I have to play the tracks I am for, but also tempers the amount of chat and time I have to talk.

So yeah, the BVDub track was important and had long been planned. And more will come in the future – 25 minutes, and maybe that long promised 40 minute Hakobune track, but we will see.

Also played is the first track from the Royksopp and Robin album Do It Again. Seriously, listen to that. And as well as that was the wonderful Phantom Band with Doom Patrol and then Ian Hawgood, with apologies to him for cutting his work short.

For all my planning, I still talk too much.

Amazon Affiliate Links for Releases in this episode

About the Paternity Pre-records

As you will know from the shows, my wife is pregnant and as such I will be taking leave from the show towards the end of July for a few months. Too tide this over I made a few decisions – the first was to not come into the studio at 10.30pm on Monday nights for a while because of the new baby. Secondly, that I wouldn’t stop the show, but in light of probably not getting someone in to cover for the Monday Graveyard (I like the idea of the Graveyard being a brand rather than me – it’s not the Mark Shields Show, for example, other DJs should be able to come in and present the show) I have elected to prepare ahead of time (something I don’t normally do) and have a bank of pre-recorded shows ready to be played out, in an order, which will act as the “live” versions of the shows.

So on Sunday mornings, 8am to 11am, I am recording two shows a week for the next four weeks, and have already recorded a bank of four shows. At the end I plan to have ten to twelve episodes to enable me to be out of the “office” for up to three months, which will, by my calculation, be enough to maybe get to grips with the whole being a dad thing.

However, there is a possibility that the live shows will remain unworkable, and as such pre-recorded might become the permanent solution. That will have to dealt with and considered when the time comes. However, believe you me – I prefer to do the live shows 100% over the pre-records, so I will endeavour to get back to live shows as soon as I can.

At a guess, I plan on stopping the live shows as late as possible, but will probably have the last live show on Monday the 7th July 2014, which is planned to be a Boards of Canada special episode (might as well bow out with a big show, eh?). After that, twelve pre-records takes the show until mid October, with the first live show back being the 13th October 2014.

So, to summarise:

  • I am taking a leave from doing live shows in a few weeks
  • The last live show will be the 7th July 2014 (unless someone decides to come early)
  • There will be somewhere between 10 and fourteen pre-recorded shows
  • The first live show back will be the 13th October 2014 (unless I can’t work it into my new role)


Host of the Monday Graveyard

A Change for the Better

What Has Happened?

If you're here, that means that you've found out that the old blog is no more. Well, it is still there, online, and it will grow cobwebs now, but I don't think it's fair to delete it.

However, you will notice that this new place is a lot different than the other place. First of, who is this Mark Shields, and what is his blog doing here? Well, in the interests of making it easier to know who I am and other things, I've moved everything that is me online into the one place. Find out more here.

What does this mean for the Monday Graveyard's online presence?

It actually means a lot - first of all, this place is more site like. So there will be galleries, reviews, more articles, and a lot more content. I plan on doing more with the blog, and putting into a new place makes that a lo easier.

Also, remember the covers? Well they'll be here too.

So, in short, plenty has changed, but not everything will be obvious until I get the whole site up and running. This is the first step towards a better and more complimentary Monday Graveyard show. 

As always, please get in touch with the show. 

99% Invisible - A Few Choice Episodes

As mentioned on the show this week I have a great love of the podcast 99% Invisible, which is a 20 minute-ish podcast dedicated to design, engineering, and the stories behind them. It's a really impressive narrative lead podcast, and one that I have used, despite it's dissimilar style, as a template for my show - mostly it's professionalism, sound style, and Roman's style of engaging the listener.

I have slowly, over the past six months of doing my show, realised that I could probably do something similar about the things I enjoy, like mapping, roads, infrastructure, and maybe if my life was in a different phase (ie: not about to have my first child) I'd seriously consider starting work on one. I think that instead I might slip in a few features to the Monday Graveyard to test this - a back door pilot, if you will. I'll probably add them to the end of the show as a podcast extra.

Here are five of my favourite episodes of 99% Invisible, which you will find on their site here along with all their previous episodes. Seriously, it worth going back over them all, they're all brilliant.

This is the episode that I actually referred to this week's show - it has two of my favourite episodes. One about the Numbers Stations phenomenon, and the second episode which features You Are Listening To, the site that gave me the inspiration for the LAPD episode.

This episode is one where I actually listened to it all the way through again after the first time - it's a wonderful story about a place, forbidden to the public, that was used by that same public, and a legend grew around it. It has a few twists, so I won't spoil them, but I love this episode a lot.

This actually links to a post I did on my own blog about Basketball (which you can find here) and details the changes made to the game through the implementation of the shot clock, something I dislike but which is adequately explained here. It is a very good episode.

Another episode mentioned in this week's show, this one focuses on the sounds and noises made by cities that are a part of what makes a city... a city. Or that city. It's a wonderful story too, featuring plenty of noices and squeaks that are amusing.

This episode is one which I now use as an anecdote when seeing a ship - it is about a small design feature, found on all ships (that I've seen since) that shows whether or not it's over loaded. And yeah, it is a really good story too.

But seriously, just go and listen to them. As a short podcast that you can stream from the site or download to your Generic MP3 Device, go and have a listen. And yeah, Roman's music aligns with the music on my show, which is nice.