Unsung Podcast

This week Dave returns as we dive into our bag of covermount CDs and unearth a real gem. If you were buying Kerrang! in August 2002, you might remember issue 918 with The Prodigy on the cover. What you definitely remember is the cover-mount CD that came with it - Hometaping Volume Two, curated by Amen's Casey Chaos. This wasn't your typical corporate compilation of radio-friendly metal and whatever major labels were pushing that month. This was a proper education in underground extremity, compiled by someone who'd been living in the trenches since he was photographed at Black Flag gigs in 1982. Casey wasn't messing about. He whittled down his selection from 60 songs, phoned Henry Rollins and Satyr personally for unreleased tracks, and designed the cover himself. The result was 26 tracks of whiplash-inducing genius that introduced countless metal and punk fans to bands they'd never have discovered otherwise. From Refused's "New Noise" and Iron Monkey's feral sludge to birthday party's pre-Bad Seeds insanity and proper OG punk from Discharge and X-Ray Specs, this was cultural education disguised as a free CD. The fact we're still dissecting every track choice 20+ years later proves Casey achieved something genuinely special - a compilation that worked as both a history lesson and a challenge to dig deeper into the underground. Episode Highlights [00:00:00] Welcome to the cave: Easter resurrections and new studio vibes [00:05:39] Casey Chaos biography: From skateboard prodigy to punk legend [00:18:00] Rollins Band gets the pub rock treatment (Chris ducks for cover) [00:24:00] The Kinison: When Oblong, Illinois meets post-hardcore [00:29:00] Murderdolls: Budget Misfits for the nu-metal generation [00:32:00] Discharge delivers the D-beat masterclass [00:43:00] Iron Monkey: Nottingham sludge at its most feral [00:37:00] Refused drops "New Noise" and changes everything [00:42:00] Turbonegro: Norwegian glam-punk that divides the room [00:43:00] Void: The DC hardcore deep cut that finally clicks [00:46:00] Immortal: When black metal meets the Tony Hawk soundtrack [00:51:00] X-Ray Specs: Polystyrene schools the youngsters [00:56:00] Zyklon: Emperor side-project with uncomfortable baggage [01:02:00] Cave In: The wrong track for the right band [01:04:00] Birthday Party: Nick Cave's mental early years get the respect they deserve [01:06:00] Nasum: Swedish grindcore brings back the brutality [01:07:00] The Distillers: Brody Dalle's voice cuts through everything [01:13:00] Eyehategod vs Iron Monkey: The great sludge debate [01:14:00] Division of Laura Lee: Sweden's most forgettable export [01:15:00] The Haunted: At The Gates members go full throttle [01:17:00] Mortiis: Norwegian dungeon synth gets the goth treatment [01:20:00] Gary Numan: The robot pioneer closes out the education [01:22:00] Highlights, lowlights, and wild cards: The final verdict

Joe from Shit You May Not Have Seen Podcast/the bands Go Down Fighting and Man Must Die, jois us this week. And his pick is somewhat controversial: Immortal Technique's second album second album Revolutionary Vol. 2. In true unsung style, it ends up leading to a massive debate about separating art and artist, all whilst looking closely at his politics and dissemination of conspiracy theories. Felipe Coronel fled Peru's civil war as a child, became a battle rap champion, and built a career on politically charged underground hip-hop - but how much of his "truth-telling" is actually that? We get into the weeds with that and much more. Highlights: [00:02:00] - Fash comments on recent anti-fascist videos [00:04:00] - Joe's hip-hop origin story since 1992 [00:13:00] - Chris's deep-dive into Technique's Peru background [00:30:00] - InfoWars appearance discussion begins [00:33:00] - Sandy Hook moment that disgusts Chris [00:38:00] - COVID conspiracy theories breakdown [00:44:00] - Andrew Tate connection revealed [00:53:00] - Revolutionary Volume Two track-by-track [01:00:00] - Jean Gray vocabulary study tangent [01:18:00] - "Point of No Return" analysis [01:22:00] - "Dance With the Devil" storytelling masterclass [01:33:00] - "You Never Know" - the other narrative banger [01:40:00] - Mark's final verdict on the confrontational tone [01:47:00] - Bonus Peru World Cup conspiracy (Chris's Nexus moment) [01:51:00] - Next week: Casey Chaos compilation with Dave Weaver

On this episode we dive deep into the musical history of one of Italy's most fascinating and forward-thinking bands - Krisma (or Chrisma as they were originally known). This husband and wife duo from Milan created music that was light years ahead of its time, with their 1977 album "Chinese Restaurant" laying the groundwork for sounds that wouldn't become mainstream until decades later. We explore how this band went from Italian pop stardom to experimental post-punk pioneers, working with the likes of Hans Zimmer and Vangelis along the way. We chat about their various musical reinventions, that time Maurizio allegedly cut his finger off on stage (or did he?), and how their track "Miami" sounds remarkably like Radiohead's Kid A... except it was released 23 years earlier! From performing with The Beatles to mingling in Andy Warhol's circle, Krisma's story is as fascinating as their music is innovative. So grab a cuppa, settle in, and let us introduce you to your new favourite obscure band. If you enjoy this episode, please consider supporting us on Patreon: https://patreon.com/unsungpod 00:00 Introduction to the Unsung Podcast 00:37 Meet the Hosts and Album Introduction 04:55 Band Background: Chrisma's Origins 12:45 Album Analysis: Chinese Restaurant 13:02 Listener's Insight: Fario Tte's Perspective 15:18 Maurizio's Punk Rock Commitment 17:51 Album Analysis: Hibernation 23:02 Album Analysis: Cathode Mamma 29:20 Technological Innovations and Clandestine Anticipation 36:06 Discovering a Hidden Gem 37:44 The Band's Move to New York 38:26 Exploring the Back Catalog 45:44 The Controversial 2008 Tour 49:52 Why Chinese Restaurant is an Unsung Classic 01:01:02 Final Thoughts and Conclusion

In part two of our interview Arno Michaelis, we navigate the bizarre intersection of music, ideology, and redemption. If you've ever wondered how extremist movements actually work, this offers some great insight. Arno gives us the inside scoop on how a skinhead band like Centurion shifted 20,000 records whilst still getting royally ripped off by their label boss. We also chat about right wing ideology and symbolism, as Arno discusses how antisemitism serves as what "the connective tissue" that binds seemingly opposing extremist groups together. We delve into the psychological mechanics too. Taking in everything from Norse fantasy to Tolkien, as well as the very large psychological leaps bands like Skrewdriver had to take to justify playing rock n roll music and Jewish cabaret tunes. Arno also talks about how the music of the Beastie Boys was something of a saving grace as he exited the movement, and he tells us about how a MySpace message in the early 00s regarding his former band, Centurion, led him to reckon with the legacy of poison he created. Whilst also giving him the impetus to try to be a force for good in the world. Grab a cuppa and dive in. Highlights: 00:00 Introduction and Conspiracy Culture 00:14 Steve's Transformation and Ideological Shift 00:53 The Neo-Nazi Rally Experience 02:58 Influence of the Church of the Creator 04:50 Disillusionment and Internal Conflicts 10:33 The Music Scene and White Power Bands 19:57 Tattoos and Symbolism in the Movement 26:47 Fantasy, Mythology, and White Nationalism 30:35 Symbolism and Corruption 30:50 The Mystique of Subcultures 31:46 Esoteric Symbols and Internet Mechanics 32:49 Trends in Holocaust Denial 34:12 Healthy Introspection vs. Obfuscation 35:53 Indicators of Radicalisation 41:35 The Role of Martial Arts in Youth Development 50:52 The Impact of Good Coaches and Mentors 53:00 Current Trends in Radicalisation 58:13 Arno's Musical Journey and Final Thoughts

This week and next we're joined by a very special guest - Arno Michaelis, author, anti-extremism activist, reformed white nationalist and former singer of the neo-Nazi metal band Centurion. You may have seen Arno recently on YouTube where he did a rather brilliant interview with Business Insider. As long time fans of the pod know, Chris' interest in the far-right is something we've touched upon a lot over the last 7 and a half years. So, when the opportunity presented itself to chat with Arno about not just his past, but how music is used a tool for radicalisation, we couldn't pass it up. In true Unsung fashion, our conversation is deep an extensive, taking not just Arno's past and neo-Nazi music, but a broader discussion about the far-right's position in modern mainstream discourse. In part one, we chat about Arno's early interest in punk rock and hip hop, through his transformation from street punk to neo-Nazi skinhead, where he provides a raw, unfiltered account of his journey. Learn about his transformation into an author and advocate for peace, his reflections on the influence of bands like Skrewdriver and Guns N' Roses, and the dangerous allure of conspiracy theories. Along the way, laugh, cringe, and maybe feel a bit enlightened about the intersections of music, hate, and redemption. 00:00 Introduction and Setting the Scene 00:27 Introducing the Special Guest: Arno Michaelis 01:41 Arno's Background and Books 02:35 Parents for Peace: Mission and Work 04:09 Arno's Neo-Nazi Past and Music Career 06:17 The Role of Music in Radicalization 09:37 Arno's Early Life and Punk Influence 15:12 Transition to White Power Skinhead Movement 19:37 Punk Scene Dynamics and Ideological Conflicts 38:07 The Influence of Skrewdriver and Radicalisation 39:56 The Influence of Skrewdriver 41:32 Musical Roots and Personal Reflections 42:46 The Impact of Skrewdriver's Music 43:37 Skrewdriver's Legacy and Controversies 47:16 Personal Connections and Reflections 52:49 The Role of Music in Radicalisation 01:01:46 Antisemitism and Conspiracy Theories 01:13:14 The Enduring Appeal of Conspiracy Theories

We've been a bit of a post-hardcore kick this year, so we thought we'd swing to the commercial end of the spectrum and talk about Alexisonfire. Specifically, Mark has chosen their 2022 comeback album 'Otherness' and we have a bit of a barney about it, as Chris and Mark's opinions on the band couldn't be more different. We spend time exploring how this Canadian quintet revolutionised post-hardcore with their three-vocalist approach, and track their evolution from their raw 2002 debut to their thirteen-year recording gap. Mark argues that their latest album is actually their best, while Chris starts off "begging to be hit by a bus" before gradually warming to their more mature sound. Poor old George Pettit (vocals) ranks the band's debut dead last himself, which Chris heartily agrees with. We chat about the Southern Ontario scene that birthed them, the pornstar who (unsuccessfully) tried to sue them over their name, and how their sound evolved over their career. This episode also features a fairly comprehensive look at the band members' various side projects, from Dallas Green's City and Colour (and his random collab with Pink) to Wade McNeil joining Gallows after Frank Carter's departure. Next week we're doing something a bit special - we'll be interviewing Arno Michaelis, former singer of neo-Nazi band Centurion, about music's role in radicalisation. We've been doing loads of prep for this one, and we'll hopefully bring you something thought-provoking. We're also moving to a new underground studio soon (literally underground), so stay tuned for that! Episode Highlights: [02:10] - Teaser for next week's interview with ex-neo-Nazi band Centurion's singer Arno Michaelis [10:00] - Chris confesses he thought Alexisonfire were Scandinavian in some bizarre Mandela effect [11:50] - The story of how Alexisonfire took their name from pornstar Alexis Fire, who then tried to sue them [14:50] - Mark explains how the geography of Southern Ontario created the perfect breeding ground for bands [29:10] - The three-vocalist dynamic that set Alexisonfire apart: Dallas's angelic voice, George's screams, and Wade's "gargling nails" vocals [36:00] - George Pettit ranks the band's self-titled debut dead last in their discography [41:00] - The pivotal role of their 2006 album "Crisis" going Platinum in Canada [50:27] - "I wanted to put the knife in Screamo" - George's controversial statement about moving their sound forward [1:09:00] - The shift to 70s rock influences and the addition of keyboards on "Otherness" [1:30:00] - Chris admits he "started off begging to be hit by a bus" before gradually warming to their later work [1:33:45] - The announcement of our upcoming move to a new underground studio

This week, we're talking about Julie Christmas – a woman whose voice could peel paint off the walls one moment and tuck you into bed the next. Known for her work with Made Out of Babies, Battle of Mice, and her collaboration with Cult of Luna on Mariner, Julie's debut solo album The Bad Wife is our focus here — an underrated little firebomb from 2010 that mixes noise, beauty, and some very sharp edges. We also trace her entire career: from the blood-curdling chaos of Made Out of Babies, to the theatrical collapse of Battle of Mice (complete with a 911 call and possibly a stair-related injury), and finally to Ridiculous and Full of Blood, her triumphant 2024 return. It's one of those rare episodes where nobody dies, nobody gets sued, and there are no Nazis. Which, if you're a long-time listener, you'll know is fairly refreshing. Highlights 00:00 – Cold open and Toast of London chat05:14 – Who is Julie Christmas?10:25 – Vocal Style Breakdown: fragile-to-feral14:45 – Women screaming in heavy bands21:00 – Made Out of Babies discography walk-through36:00 – Battle of Mice and a post-metal relationship collapse41:56 – Mariner – the Cult of Luna collab that actually works44:45 – Ridiculous and Full of Blood (2024)51:30 – Spylcopa, Mouth of the Architect & other collaborations 54:55 – The Bad Wife (2010)

This week, we're going in the exact opposite direction as last week talking about one of the most quietly revolutionary figures in modern music: Arvo Pärt. That's right, we're pivoting HARD from death metal to neoclassical music. Strap in! We go deep on his early works, his religious conversion, and his shift into the sparse, meditative style known as tintinnabuli. Along the way we discuss how his music achieves emotional intensity through restraint, why he basically disappeared for several years, and how his minimalist compositions have become unlikely mainstays in film and television. Expect talk about Soviet censorship, spiritual longing, and just how hard it is to make music that seems this simple. If you've ever cried to Spiegel im Spiegel, you'll understand. Highlights: 00:00 Introduction and Greetings 01:13 Discussing Radio Show Introductions 02:39 Highbrow Conversations and Wine 03:19 Introducing Arvo Pärt 03:30 Arvo Pärt's Pronunciation and Popularity 05:44 Arvo Pärt's Musical Journey 15:02 Arvo Pärt's Life and Struggles 34:12 Arvo Pärt's Film Scoring and Return to Music 35:30 Tintinnabuli Technique and Influence 44:56 Exploring the Melancholy Beauty of Arvo Pärt's Music 46:04 The Story Behind 'Für Alina' 46:55 The Technique of Tintinnabuli 51:38 Arvo Pärt's Religious Influence 01:03:37 Pärt's Impact on Modern Cinema 01:24:48 Pärt's Music in Palliative Care 01:29:35 Conclusion and Final Thoughts

Once upon a time Man Must Die released two albums on Relapse Records and toured an absolute shit load. I actually remember when they toured with Machine Head, which is a fairly impressive thing for any metal band to achieve. Man Must Die were a death metal band, and in some quarters they were even called a technical death metal band. A term that vocalist, and our good pal, Joe disputes. And with good reason - technical death metal isn't really his bag. However, he does love Cryptopsy, and he has an extensive knowledge of death metal. And metal in general, really. So this week we thought it'd be a good idea to ask him to come along to talk about Cryptopsy, get his take on the various sub genres of death metal and to generally shoot the shit about a truly technical death metal band. Episode highlights: 00:00 Introduction and Greetings 00:11 The Joe Dilemma 01:05 Cultural Semantics and Humor 01:55 Podcast Dynamics and Editing 02:19 Introduction to Cryptopsy 04:14 Death Metal Deep Dive 11:09 Technical Death Metal Explained 29:07 Festival Chaos and Engineering Challenges 29:39 Dillinger Escape Plan Live Experiences 30:19 Technical Death Metal vs. Chaotic Metal 31:41 Progressive and Melodic Death Metal 34:07 Deathcore and Its Evolution 38:58 Cryptopsy's Journey and Lord Worm's Departure 49:39 Cryptopsy's Discography and Musical Style 01:01:06 The Science of Poetry 01:01:15 Depression and Lyrics 01:01:48 Cryptopsy's Musical Evolution 01:03:16 The Unspoken King Controversy 01:07:37 Return to Form: Self-Titled Album 01:13:42 Whisper Supremacy: A Detailed Analysis 01:22:34 Summarizing Cryptopsy's Impact 01:28:17 Upcoming Projects and Final Thoughts

We're back with the final part of our exploration of The Wildhearts, one of rock's most truly unpredictable and chaotic bands. If you thought last week's episode covered all their madness, think again cause we've a TON more stories in this one. Including a pretty grizzly tattoo story, so consider this a trigger warning for self-harm content. This time, we're focusing on the mid-to-late years of their career, a period filled with controversial albums, internal meltdowns, and some truly bizarre stories. From an album that even the band hated to a festival riot they actively encouraged, The Wildhearts somehow never did things the easy way. We explore: The controversy around Fishing for Luckies and why it was re-released multiple times The implosion of the band in the late ‘90s and their never-ending lineup changes How Ginger Wildheart rebuilt the band from the ground up more than once The band's strangest stories, including hallucinated UFOs, body horror, and a food fight at Download Festival Why The Wildhearts never quite made it to the mainstream, despite being one of the most influential cult bands in rock We also attempt to answer some crucial questions: Did Endless Nameless ruin their mainstream chances, or was it just ahead of its time? Is Fishing for Luckies one of their best albums, or an overstuffed mess? Were The Wildhearts a punk band, a metal band, or something completely different? Episode Highlights & Timestamps 00:00 – Intro & Banter: More Groundhog Day jokes than necessary.01:07 – The Fishing for Luckies Controversy: A cash grab or a cult classic?04:25 – Endless Nameless & Their Most Divisive Album: Was this a genius move or career sabotage?09:10 – The Wildhearts' Internal Chaos: Drugs, drama, and why they couldn't hold a lineup together.16:02 – Ginger's Grossest Story Ever: The marshmallow arm incident (not for the squeamish).19:24 – UFO Sightings & Conspiracy Theories: A night of hallucinations, tequila, and unexplained lights.20:55 – The Download Festival Riot: Why The Wildhearts encouraged 80,000 people to throw things at them.26:00 – Why Their Songs Are Too Long: Do they have too many ideas for their own good?33:40 – Their Legacy & Influence: Why they never broke through but remain a beloved cult band.49:00 – Final Thoughts & Outro: What we learned from this absolute rollercoaster of a band.

The Wildhearts could very well be one of the most chaotic, unpredictable, and underrated British rock bands ever. Ideal for unsung in a lot of ways, really. So this week and next, we'll we're diving deep into their sound, history, and legacy. In this episode, we break down: Claims that they sound like The Beatles merged with Metallica The endless lineup changes, hiatuses and threats of legal action How Ginger Wildheart outsmarted the music industry before crowdfunding was even a thing Why touring is harder than ever for bands like The Wildhearts How they built a cult following despite never truly “making it” Episode Highlights & Timestamps 00:00 – Intro & Banter: Why we keep coming back to this band.13:00 – The Wildhearts' Unique Sound: The Beatles meets Metallica (or something even weirder).18:15 – Internal Chaos & Lineup Changes: A band that couldn't stay together.28:05 – How Ginger Wildheart Outsmarted the Music Industry: Crowdfunding and business moves.39:50 – Why Touring Is Harder Than Ever: The death of mid-tier bands.45:00 – The Wildhearts' Cult Status & Legacy: Why they never “made it” but still matter.51:00 – Final Thoughts & Outro: Would they even work in today's industry?

We love it when we get a chance to talk about very influential bands who are extremely overlooked. It is, after all, the whole reason this podcast exists. And there are few as influential, and overlooked, as Ink & Dagger. Their albums aren't even on Bandcamp, let alone streaming sites. That probably tells you everything you need to know. Frankly, without Ink & Dagger, bands like Thursday, My Chemical Romance and a whole legion of post-hardcore/emo bands from the early 00s simply wouldn't exist. They gained a brief spike in popularity in the 2010s when they reformed with Geoff Rickly from Thursday on vocals, which ensured that their vital legacy got its day in the sun. Ink & Dagger were only active from 1995 to 2000, but were incredibly prolific in that short space of time, producing 4 EPs, 2 splits and 2 albums. Their sound evolved very quickly, and amongst all of that was relentless touring, a revolving door of band members (singer Sean McCabe and guitarist Don Devore remained the only consistent members) and at least a book or two's worth of insane on-the-road hijinks. The band agreed to disband in the year 2000 after their second album. But before they could even release that record, singer Sean McCabe passed away aged 27. A tragic exclamation point at the end of the band's short, crazy existence. If you like post-hardcore in any form but have never heard this band, well... prepare to be educated as, this week, we throw our focus on their debut album "The Fine Art of Original Sin".

Well, here we are again, back in the trenches of musical altruism, digging through the chaos and cocaine fumes of We Are the World. In our final part of this double header, we examine the actual recording process—a night filled with megastars, massive egos, and the creeping existential dread of Bob Dylan. We cover: Lionel Richie's unexpected side hustle as a musical firefighter, putting out diva-induced blazes. Quincy Jones' increasing exasperation as some of the greatest voices in music fail to hit their notes. Michael Jackson going off the deep end with Sheyla-Sheyla (which is absolutely, 100% real). Stevie Wonder offering to guide Ray Charles to the loo, leading to perhaps the only acceptable "blind leading the blind" joke in history. Prince skipping the whole thing to eat Mexican food down the road. Cindy Lauper causing technical difficulties by jingling like a Christmas tree made entirely of cheap jewellery. Diana Ross possibly being the most accidentally terrifying sweetheart of all time. Also: did this song actually make a difference? Or was it just the moment that finally convinced Michael Jackson he was the second coming? We get into all of that, while trying to decide whether the song is a masterpiece or just a very elaborate Pepsi advert. 00:00 Podcast Introduction and Banter 01:12 Podcast Admin and Patreon Promotion 04:42 Recording 'We Are the World': Setting the Scene 04:47 Quincy Jones and the Ensemble Choruses 07:03 Challenges and Tensions in the Studio 13:49 Prince's Absence and Sheila E's Disappointment 17:23 Final Takes and Notable Moments 25:14 Reflections and Aftermath 30:27 Michael Jackson's Missionary Phase 31:37 The Concept of an Artist's Imperial Moment 32:45 The Role of MTV and Charity Singles 34:09 Critiques and Controversies of Charity Campaigns 35:20 Bandaid vs. USA for Africa: Distribution and Impact 37:56 Political Complexities of Ethiopian Famine 44:08 Mismanagement and Consequences of Aid 47:02 USA for Africa's Long-Term Development Approach 49:53 Cultural Impact and Legacy of Charity Singles 52:39 Conclusion: Achievements and Lessons Learned

It's 2025, and somehow, We Are The World is about to turn 40 years old. Time is a cruel joke. This week and next we'll be taking a deep dive into one of the biggest charity singles ever recorded. You know the one—Michael Jackson, Lionel Richie, Bruce Springsteen, Bob Dylan looking completely lost, and a very questionable Cyndi Lauper fashion choice. We cover: How this song was written in 10 days and recorded in one night (because the American Music Awards made it convenient). The absolute chaos of the recording session, including Lionel Richie trying to stay awake, Prince ghosting everyone, and Stevie Wonder insisting on singing in Swahili. Michael Jackson's home studio, which included a chimpanzee, a Mynah bird that mimicked his voice, and a giant snake that terrified Lionel Richie. Why some artists hated the song, including Cyndi Lauper comparing it to a Pepsi commercial and Billy Joel thinking nobody actually liked it. What happened to the money, how We Are The World avoided Band Aid's mistakes, and why Live Aid overshadowed it in the end. We also attempt to answer some crucial questions:Would a song like this even work today?Why does Quincy Jones always have the best stories?Has Bob Dylan ever looked more uncomfortable? Timestamps & Highlights 00:00 – Intro & Banter: Vikings, language learning, and Michael Christen (who?).02:00 – Patreon Plug: Give us money, or at least send the pod to a mortal enemy.06:47 – How "We Are The World" Came Together: The American Music Awards gave them a deadline, and chaos followed.16:54 – Artists Who Hated It (or Rejected It): Prince, Madonna, and Billy Joel's existential crisis.27:20 – Michael Jackson's Bizarre Recording Habits: A chimp, a bird, and a snake walk into a studio…36:00 – The Chaotic Recording Session: Bob Dylan, Huey Lewis, and why Quincy Jones had to babysit 40 superstars.47:00 – Stevie Wonder's Swahili Suggestion: This actually happened.54:00 – What Happened to the Money?: How We Are The World handled charity better than Band Aid.1:06:30 – Live Aid & The Aftermath: How this song shaped charity singles forever.1:18:00 – Final Thoughts & Outro: The legacy of We Are The World, and who we'd put on a modern version. Join the Conversation! Which solo line would you claim if you were forced to sing on We Are The World? Should Bob Dylan have just walked out? Would a charity single like this even work in 2024? Tell us what you think, share the episode, and tag us if you're spreading the good word. Support the Show!Want bonus episodes, early access, and a hand in what we cover next? Patreon is your friend.

In this episode we are joined by special guest Grant Donaldson from Moni Jitchell and Civil Eleigies, as he dives into some of his early musical influences. From Meatloaf's 'Bat Out of Hell 2' to ACDC's 'Back in Black' and Refused's 'The Shape of Punk to Come,' he discusses the impact these albums had on his life and musical development. Along the way, anecdotes, gig memories, and the pitfalls of mixing punk ideology with mainstream success provide some entertaining listening. 00:00 Introduction and Guest Welcome 00:21 Grant's Musical Background 01:14 The Concept of Intros Episodes 04:20 Grant's Album Picks 04:43 Discussion on Meatloaf's Bat Out of Hell 2 24:26 Live Performances and Personal Anecdotes 39:02 Meatloaf's Chaotic Concert Incident 41:01 Uncredited Vocalist on 'I Would Do Anything for Love' 41:37 Grant's Chronological Music Journey 44:13 AC/DC's 'Back in Black' Album Deep Dive 58:57 Refused's 'The Shape of Punk to Come' 01:12:53 Refused's Legacy and Reunion 01:25:51 Conclusion and Farewell

Welcome to the third and final part of our Black Sabbath expedition with Rick Bruce from Moonshine Docks and formerly of Coffin Mulch! We dive deep into the tumultuous yet fascinating journey of Sabbath's later years and the cap it off by discussing the often-maligned 'Never Say Die' album. From Ozzy Osbourne's erratic behaviour and his temporary exit, to Sabbath's experimentation with new soundscapes and their revolving door of members throughout the 80s and 90, nothing is off limits. We've got a few hilarious and poignant anecdotes, tackle critical reviews, and even compare Sabbath's work to culinary experiences. Tune in for a spirited debate about one of rock's most controversial albums and find out if 'Never Say Die' deserves its spot in the rock pantheon or the bargain bin. 00:00 Introduction and Welcome 00:05 Black Sabbath Expedition Begins 01:08 Diverging Opinions on Black Sabbath's Evolution 01:41 Ozzy's Departure and Band Dynamics 03:03 Ronnie James Dio Era 10:21 Heaven and Hell Album Discussion 19:44 Mob Rules Album Insights 22:42 Born Again and Beyond 33:40 Headless Cross Era: A Stodgy Comeback 34:47 The Tony Martin Reappraisal 35:31 Tear and Headless Cross: A New Sound 38:57 Dehumanizer: The 80s Band Reunites 43:38 Cross Purposes and the Grunge Era 49:32 Forbidden: The Misstep 56:55 Never Say Die: The Final Ozzy Album 01:12:34 Nosey and the 70s Sound 01:12:50 Sabbath's Unique Riffs and Drumming 01:13:16 Influences and Inspirations 01:14:17 Critiques and Musical Textures 01:15:30 Hard Road and Vocal Performances 01:16:49 Medieval Covers and Side 2 01:19:23 Shockwave and Air Dance 01:24:08 Over to You and Breakout 01:27:04 Swingin' the Chain and Album Conclusion 01:35:14 Final Thoughts and Reflections

Well now. It turns out that 19 albums (technically 20 if you include Heaven & Hell's only album, The Devil You Know) is rather a lot. So our two parter has become a three parter. Whoops. But we tackle their discography with someone who knows the band inside out - Richard Bruce, from the band Moonshine Docks and formerly of Coffin Mulch. His encyclopedic knowledge of the band stands us in very good stead as we go about the business of talking about the band and their albums in detail. In this episode we chat about the band's history and then dive into all the Ozzy records, essentially covering all of the band's 1970s output. It's a pretty fascinating journey, and we really enjoyed getting to grips with the "classic" Sabbath material. Next week - Dio, Gillian, Hughes and Martin all come to the Sabbath party. Reaction to Aron interview = 13:05 Lyrical duties = 19:29 Ozzy solo charade and cutting folk out of credits = 20:09 the Beatles influence and pre mobile phone tours = 29:26 KIss is the American Slade = 34:27 West Midlands hard music and WC blokes plus G Harrison = 36:55 BUying the wrong Sabbath record = 40:46 Were Sabbath actually very satanic? Crowley, Witchfinder, Devil Rides out = 49:03 Naive lyrics and nursery rhymes = 57:04 Master of Reality defines stoner and doom = 58:16

It's 2025 and we're starting the year off with a bang. Regular fans will know that we always start the year off with a big artist, and there's very few metal bands bigger than Black Sabbath. This week and next we'll be chatting all about them. Episode one is an in-depth interview with Aron Ward, son of Black Sabbath's original drummer, Bill Ward. Aron discusses his eclectic musical journey, influenced heavily by his father but also carved by his own diverse tastes. He talks about his own projects, such as Olanza, Harpoon, and Repoman, and his approach to DIY music production. Aron provides personal anecdotes from his childhood, touring with Black Sabbath, and learning the harsh realities of the music industry. He also shares his thoughts on various Sabbath albums and his dad's impact on his music career. Tune in for a fascinating chat filled with music history, personal stories, and candid insights. NEXT WEEK we're bringing in ANOTHER guest to talk about the band, and focus on the record Never Say Die. 00:00 Welcome and Introduction 00:08 Meet Aron Ward 01:46 Aron's Musical Journey 03:22 Growing Up with Black Sabbath 04:35 Influence of Black Sabbath 16:13 DIY Ethos and Industry Insights 20:13 Memories and Reflections 23:56 Favorite Albums and Musical Preferences 26:33 Interviewing Ian McKay: A Shared Experience 26:54 Heaven and Hell: A New Kind of Metal 27:29 Living in Bel Air: Ozzy's Absence 29:50 The Dio Era: A Divisive Time 32:25 Technical Ecstasy: A Beatles Influence 33:56 Never Say Die: A Confusing Time 39:07 The Influence of Sabbath on Modern Bands 45:03 Final Thoughts and Personal Projects

After touching briefly on it in our Finland episode last week, this week we dive headlong into the discography of disorienting and electrifying world of the Finnish band, Oranssi Pazuzu. Known for their unique blend of black metal, psychedelia, krautrock, and electronica, Oranssi Pazuzu have pushed musical boundaries with their immersive and genre-defying style. We break down their discography, contemplate the terrifying beauty of their sound, and revel in the menacing brilliance of their 2020 album, 'Mestarin kynsi'. Expect insights into their influences, a bit of playful banter, and why their music is like a bad trip brilliantly gone wrong. Buckle up, it's a wild ride! 07:58 Episode 1 recap 09:16 Oranssi Pazuzu intro 12:53 Influences & Comparisons 20:14 10 Influences As Chosen By The Band 29:27 Discography: Muukalainen Puhuu & Kosmonument 38:26 Discography: Valonielu & Värähtelijä 59:58 Discography: Muuntautuja 66:57 Mestarin Kynsi

This week we dive headfirst into the land of heavy metal, Finland. In what originally started off as an episode on the Oranssi Pazuzu album Mestearin Kynsi, we quickly realised that we had a two parter on our hands. So this week, we're using Oranssi Pazuzu as a lens through which to view  the Finnish music scene. In the episode, we take a detour through the history and culture of Finland, exploring why this country has the highest ratio of metal bands per capita. We also touch on notable Finnish acts, quirky cultural elements, and the unique musical environment of Tampere. Expect insight, humour, and a bit of chaos as we unpack what's behind Finland's intense love affair with metal. 00:00 Welcome 01:10 Introducing the Topic: Finnish Metal 02:00 The Finnish Music Scene and Culture 05:43 Patreon and Community Announcements 08:49 Deep Dive into Oranssi Pazuzu 20:36 A Brief History of Finland 26:22 Finnish Traditions and Unique Sports 26:58 Famous Finnish Music and Artists 32:21 The Influence of Metal in Finnish Culture 35:03 Doom Metal and Its Finnish Roots 43:26 The Finnish Music Industry and Government Support 54:22 Tampere's Psychedelic Black Metal Scene 01:00:01 Conclusion and Final Thoughts

In this episode we explore the eclectic stylings of the band Karate. We break down their shift from post-hardcore roots to embracing jazz influences, focusing on the standout album 'In Place of Real Insight.' And we get there, in the usual fashion, by chatting extensively about their back catalogue. We also theorise that perhaps Karate fans may have split into two camps when they moved the focus almost exclusively to jazz. Our weekly Nexus challenge takes us from Karate to the late John Prescott through a convoluted but fascinating path involving jazz, punk rock, and the peace symbol. Expect deep musical analysis, unexpected links, and a few laughs. Karate background: 08:05 Chris' Theory on Karate fans: 15:13 Early discography and eponymous debut: 19:18 Bed is in the Ocean, Unsolved & the journey to jazzcore: 29:53 Some Boots & Pockets: 41:20 595 & Make It Fit: 48:20 In Place Of Real Insight: 53:28 Summing up the album: 75:51 The John Prescott Nexus: 80:36

This week our pal Jan Alkema, drummer of the bands The Drum/China Drum and Compulsion returns. This time here's here to discuss the story of Compulsion. We cover the band's history, its ups and downs, and some behind-the-scenes stories. We hear about Jan's journey from joining The Amazing Colossal Men to Compulsion's battle with record labels, relentless touring, and eventual disbandment. Along the way, Jan drops some memorable anecdotes, including a run-in with Dave Grohl, a misadventure with Cradle of Filth, and plenty of backstage dramas. It's a helluva a ride, a candid real and entertaining look at a band that never quite got its due. 9:27 - Compulsion History and Formation 21:20 - The Amazing Colossal Men & in court with Virgin 29:24 - A fresh start and London 34:25 - The early EPs 39:49 - Touring, Elektra and Comforter 48:14 - Demostikon 50:34 - Timings, genres and peers 01:02:11 - The arrival of Britrock 01:06:21 - The Future is Medium 01:12:11 - The beginning of the end 01:17:08 - After the band 01:22:56 - Reissues 01:24:59 - Late trivia and gossip

In this episode, we take a journey back to the 80s to explore Device's only album, '22B3', the choice of this week's guest co-host, our antipodean based pal, Crag! We delve into the album's rich synth-pop-rock sound and discuss why it remains an underrated gem. The key member of this act is the overlooked, yet all time great pop rock songwriter Holly Knight. She was the mastermind behind many iconic hits from the likes of Tina Turner, Bonnie Tyler, Heart and penned songs for Kiss, Bon Jovi, Cheap Trick, Meatloaf and so many more. On 22b3, she takes centre stage and we use this episode to investigate her influential yet often overlooked contributions. As we go through each track, we highlight the distinctive 80s production techniques, unique sounds, and memorable melodies. Crag shares insights into the equipment used and provides some industry context, which makes for a fascinating deep dive into 80s music culture. From discussing the album's standout tracks like 'Hanging on a Heart Attack' to exploring the various musical influences and collaborations, this episode is packed with intriguing details and anecdotes. We also connect the album to wider music histories and trends, giving listeners a thorough understanding of its place in music lore. As always, we wrap up with our Nexus, this time linking Device to Debbie McGee in a surprisingly twisted route through music and pop culture history. If you're a fan of 80s music, keen on unsung musical heroes, or simply love a good musical anecdote, this episode is a nostalgic treat you won't want to miss. 00:00 Introduction and Greetings 01:26 Listener Suggestions and Album Selection 02:56 Patreon and Membership Perks 05:25 Political Commentary and Americana 09:29 Album Discussion: Device - 22B3 16:49 Holly Knight's Career and Contributions 38:13 Paul Engeman and the Band's Background 47:37 Introduction to Marauder and George Tukto 47:52 Technical Credits and Chart Performance 48:33 Musical Equipment and 80s Sound 50:08 Diving into the Tracks 50:43 Track Analysis: Hanging on a Heart Attack 54:43 Track Analysis: Who Says 57:05 Track Analysis: Pieces on the Ground 58:50 Track Analysis: Tough and Tender 01:01:24 Track Analysis: When Love is Good 01:03:39 Track Analysis: Didn't I Read You Right 01:06:04 Track Analysis: Fall Apart, Golden Heart 01:09:10 Track Analysis: I've Got No Room for Your Love 01:11:42 Track Analysis: Who's on the Line 01:14:11 Track Analysis: Sandstone, Cobwebs and Dust 01:16:44 Conclusion and Final Thoughts 01:24:21 Nexus Segment: From Device to Debbie McGee 01:32:20 Closing Remarks and Upcoming Guests

In this episode we dive into a lesser-known compilation from Dundee, 1996, titled 'After the Storm', which was created to raise funds for 18U. We explore the tracks, uncovering a mix of genres from 80s power ballads to 90s dance and country influences. There's a lot of colourful and, shall we say, sometimes questionable, musical efforts showcased in this CD, and as ever we humorously navigate the ups and downs of their listening experience. Highlights include oddities like George McFarlane's rap experiment and a cheerful dance track by Bliss. They wrap up with an existential crisis triggered by Real Gone Kid by Deacon Blue. But it's all for your entertainment, so it's all good. Oh, and yeah cause this week is particularly heavy the first 18 minutes or so are about Trump winning the US election. So feel free to skip ahead if that doesn't tickle your fancy. 00:00 Introduction and Birthday Banter 00:57 Post-Birthday Blues and Football Highlights 02:20 Political Discussion: Election Results and Reactions 06:31 The Impact of Information Economy on Politics 09:32 Misogyny and Conservative Trends in Gen Z 11:40 The GOP's Transformation and Democratic Challenges 16:11 Crypto Bros and Political Discourse 17:19 Middle Eastern Vote and Political Puritanism 18:32 Music Podcast Transition and Upcoming Topics 44:41 Country Vibes and Musical Influences 45:47 Highland Cowpunk and Unique Instrumentation 48:08 Exploring George McFarlane's Musical Journey 51:40 Dundee's Musical Scene and Hidden Gems 57:07 Ian Cusick: A Deep Dive 01:01:24 90s Dance Nostalgia with Bliss and Lucy Jules 01:04:42 Gary Clark and King L 01:07:37 Michael Marra: Dundee's Bard 01:19:10 Final Thoughts and Reflections

In this episode of the Unsung Podcast, we delve into Vessel's 2014 album 'Punish Honey,' a unique blend of electronic music and modern electronica. We provide an overview of Vessel's career, touching on past albums and collaborative efforts. We discuss standout tracks like 'Red Sex' and 'Anima,' highlighting the album's haunting, ethereal qualities. We also reflect on Vessel's transition to scoring for films like 'The Northman' and talk about the importance of his innovative approach. We end the episode with a Nexus segment linking Vessel to cyclist Chris Hoy. 00:00 Introduction and Banter 02:09 Podcasting Challenges and Humour 03:12 Introducing the Topic: Vessel's Punish Honey 04:28 Patreon Shoutout and Admin 05:30 Concert Stories and Anecdotes 12:36 Social Media and Platform Changes 14:01 Deep Dive into Vessel's Career 45:50 Exploring the Synth Sound 46:52 Discussing the Northman Soundtrack 50:26 Diving into Punish Honey 52:37 Track-by-Track Analysis 01:03:02 Sidebar: Ozzy Osbourne and Rock Legends 01:17:17 Concluding Thoughts on the Album 01:21:17 The Nexus: Connecting the Dots 01:30:19 Call to Action and Future Plans

David Scott from Moni Jitchell joins us again this week as we round off our deep dive into the discography of Los Campesinos! We being picking up where we left off last week; in the midst of running through the band's discography. Mark then comes clean and says he actually took notes on the wrong album, before we all go down the rabbit hole of figuring out of Romance is Boring and/or Los Campesinos! are unsung. A small reminder that if you want to support the podcast you can do so via our Patreon. Not only will you get episodes early, you also get access to our Facebook group (aye we know it's boomer shit, but we've yet to find a better way of mass communication) and you can have some influence on what we cover on the show. There's also the option of our higher tier, the record club, where your money will go towards supporting independent artists that we think are truly unsung. If you want to learn more about Moni Jitchell, their most recent release is called Unreal, and you can get it here.

Guest time! In the first of two episodes we chat with David Scott from the band Moni Jitchell about Los Campesinos! and their third album Romance is Boring. In part one we go into a lengthy deep dive around twee pop, the band's history and then begin to look closely at their discography, using the band's own ranking of their first five albums as a means navigation. A small reminder that if you want to support the podcast you can do so via our Patreon. Not only will you get episodes early, you also get access to our Facebook group (aye we know it's boomer shit, but we've yet to find a better way of mass communication) and you can have some influence on what we cover on the show. There's also the option of our higher tier, the record club, where your money will go towards supporting independent artists that we think are truly unsung. If you want to learn more about Moni Jitchell, their most recent release is called Unreal, and you can get it here.

We've briefly touched on geek rock in the past - Weezer and Laeto spring to mind - but never in any detail. That all changes this week as we look at the genre through the lens of The Protomen. We also chat extensively about the band, their discography and their frankly brilliant homage to 80s rock.

Last week we spoke about the music of the sequels to The Crow (1994). We also spoke about the new crow film (The Crow (2024)), but we kind of cut it a little short because we didn't talk about the music of the new film. We do that this week before we dive headlong into the original soundtrack of the very first film in The Crow franchise. Not sure I can find a way to fit "The Crow" into this little blurb about our new episode on The Crow. So please enjoy this episode where we talk about the music from the 1994 film The Crow

Another episode where we're taking direct inspiration from something that we mentioned in an early show, we've decided to do two whole bloody episodes on the music of The Crow film franchise. In episode one we talk about the music from the very poor sequels to the original film: City of Angels and Salvation. Surprisingly, even though the movies themselves are fairly terrible, the soundtracks are actually really good! So we dedicate a bit of time to those two. We also talk about the place of The Crow in the wider pop cultural landscape, wondering whether it really was as popular as we seem to remember it was (subcultures are weird) before we talk about the brand new reboot The Crow. Which is... well, it's certainly not the worst of The Crow films, but that's not a high bar to clear... Fancy showing us some love? You can subscribe to the pod for as little as £4 per month on our Patreon: www.patreon.com/unsungpod

Usually, we like to space things out. You may have noticed that over the years, we'll do a metal album one week, then perhaps change it up with electro or something else. So, for us to do two post-hardcore/noise rock(ish) records so close together is a bit unheard of. But hey, what's the point of having a set of rules if you don't break them occasionally? We've been doing this show for a ridiculously long time. Too long, some might say. In those six and a half years (give or take a few months), we've managed to rack up a decent amount of subscribers. For some of our longest-standing subscribers, we give them the opportunity to pick a record for us to cover. This week, Todd Khul chose Face of Collapse by the Dazzling Killmen. We welcomed this choice, especially since it's a band Chris has also wanted to tackle for a while. So this week, we're diving deep into their short discography and offering some insights into their equally short career. Fancy showing us some love? You can subscribe to the pod for as little as £4 per month on our Patreon: www.patreon.com/unsungpod

Sound is a pound is always good fun. You'd be amazed what you can pick up for a quid in a charity shop. It's been about 18 months since our last one of these and frankly, we'd forgotten what albums we'd "gifted" each other at the end of the last episode. So Mark decided to pick two that he'd bought for Chris: Planet Claire by The B-52's (a strange compilation what was not released by the band's label, Warner Brothers) and Highly Evolved by The Vines. There's some surprises in this episode. There's also somethings that won't be surprising at all to long time fans. We'll leave you to figure out which is which...

John Congleton is a great producer, and as it turns out, also a great musician. The Paper Chase were, for many years, his only musical project and even as his star began to rise as a producer, he was still churning out unsettling, chromatic, occasionally catchy, often nasty music. Often described as a combination of avant-garde jazz, indie and punk, the band tick all of those boxes and much more. This week we're talking about their second album, Hide the Kitchen Knives which helpfully/frustratingly is only available on YouTube. An album so twisted that it actually gave Mark nightmares. We also talk about the band's discography at large and chat about why some albums never seem to make it to streaming platforms.

Long terms fans of the show will know that we've spent altogether far too much time talking about Britpop. And the bad news is that it looks like it's ABOUT BECOME ALL ANYONE TALKS ABOUT when Oasis announce their reunion. We recorded this episode before those rumours started to creep out. Funny how these things happen. Anyway, Mark fell into a Suede hole (sounds quite comfy, when you put it like that) after our episode on Baader Meinhof/Luke Haines and this lead to two realisations: 1) there's no way we could call Suede (or this song, really) unsung, and 2) we don't think they have an album solid enough to carry a full episode. This song though? It's a banger. Pure class. And we really wanted to talk about it. So we bent the rules a little.

A quick note of correct: we haven't done a Mojo covermount before. It was Uncut, but the audience for both magazines was/is broadly the same... Or so Mojo would have you believe. We'll be honest: the bag of covermounts is full of questionable CDs, so it was actually something of a surprise to land on something interesting. This Mojo covermount is, ostensibly, a history of electronic music. It goes all the way back to the 60s and includes in the mid 00s, when this CD was released. A strangely fascinating find, given that it was only released on the front of a magazine. From disco to house, ambient to jazz, this thing has a real selection of music that incorporates keyboards and synthesizers. It was fun to spend time with it, and we hope it brings something interesting into your life too.

A few months ago we covered Tanz, Grozny Tanz by Yacøpsæ and if you listened to that episode, we mentioned how we'd reached out to the band for some info. They didn't get back to us in time, but band member Stoffel was keen to hear the podcast, so we sent him a link to it. Luckily he was a fan, but there was a few points he wanted to clear up. After arranging a short Q&A with the input of our subscribers, we managed to pull together this wee episode based on his responses. The result is a fun, insightful episode on Yacøpsæ directly from the mouth of the band. Enjoy. We'll be back next week with some a lovely covermount!

Can you believe it was back in February 2020 when we did our Britpop mixtape? How wild is that? This week we're joined by Glaswegian musician Andy Isacsson, otherwise known as Luminous, who has picked this week's record. We chat at length about his latest record, Precarious Karma, which took him about a decade to complete. We dive into the influences behind it, the reasons it took so long to finish, and much more. Then, we get into the business of talking about Baader Meinhof and Luke Haines. Unlike a lot of musicians, Andy opted not to release his music on Spotify. So you can check out his album here on Bandcamp. For Record Club subscribers, we've also added it to our catalogue. It's pretty great, and we thoroughly recommend giving it a whirl. To wit. We always knew we'd come back to Britpop one day and we always suspected we'd do so via unorthodox means. Baader Meinhof by Baader Meinhof, Luke Haines' sorta kinda first solo album, gave us a wee chance to do that. Not because it's a Britpop record – it's far from it – but Haines himself has proven to be quite a large figure in the history of that genre. He's also got a massive discography. In this episode, we touch a little bit on The Auteurs, then very briefly look at Black Box Recorder and a minimal selection of his solo discography. Maybe next week we'll escape from the 90s hole we seem to have found ourselves in, but I wouldn't bet on it...

Is this a controversial choice? Quicksand's debut album Slip is widely regarded a classic, and in my quarters the band are seen as being hugely influential. So in many ways, picking their second album, Manic Compression, as an unsung classic seems like a no-brainer. On this episode, Chris talk about why this album is not just an unsung classic, but why it's also their best album. Healthy disagreements abound. What do you think is the better record, Slip or Manic Compression? If you're a spotify user, vote on our poll now!

Hailing from Ireland, Katie Kim is an artist who has demonstrated remarkable musical growth over the course of her career so far. Evolving from lo-fi folk to dark, experimental, haunting, almost ambient alternative rock. This week, we talk about her entire discography, before diving into her riveting fourth album, Hour of the Ox.

One thing that we find particularly fun about this podcast (most of the time) is re-appraising records from our youth. Taking a closer, critical look at something you were once super familiar with is often eye opening. Particularly if it's a record you remember liking a lot at one time but have since stopped listening to. Most of the time, it's a fun experience. And this episode on Eight Arms to Hold You by Veruca Salt is one of those times! Mostly. Chris was not super into this band when he was younger, but he did like this album a lot. In this episode we talk all about the band's career, before ending on the album in question. Dig in!

X Japan have released a proper studio album since 1996. They did release a soundtrack in 2016, and released the occasional single too, but as for a longer release? Nada. Zilch. Of course, some of this is down to the fact they essentially broke up and only reunited in 2007. In this episode, we'll be talking about their 5 studio albums. Chris' album choice is actually their 1988 debut, Vanishing Vision. So as usual, we'll leave the chosen album to last. Before that, though, we go on a wild ride through their discography. From what is perhaps their best album Blue Blood, to their most recent output, which is 1996's Mania. Buckle up - we're going deep on this one!

There's been a fair amount of ink spilled on X Japan over the years in certain media outlets. You can even find recent interviews with drummer/pianist/primary songwriter and Japanese megastar Yoshiki in prestigious publications like Time magazine. X Japan, however, remain something of an enigma on British shores. Sure, Yoshiki – a classically trained pianist with a background in drumming for the power metal band X Japan – can sell out the Royal Albert Hall solo, but X Japan themselves have never played a single show in the UK, despite being around for over 40 years. If you're a fan of power metal, speed metal, or Iron Maiden, there's a good chance you'll dig a lot of X Japan's music. But their relative obscurity here in the UK isn't the only reason we're dedicating two episodes to them. It's because the story of the band is absolutely wild, and in episode one, we'll delve into that story in detail. Next week, we'll take a deep dive into their discography. Grab a cuppa and let's dive in!

We knew this episode was gonna grow arms and legs when we realised that there are 27 Bond songs to talk about. So, now that we've dispensed with the history of Bond music, it's time to tackle every single one of these songs in chronological order. This doesn't include the original Bond theme from Dr. No (cause we discussed that at length in side A), but does include the two songs in On Her Majesty's Secret Service and the two non-Eon Bond films, Casino Royale (1967) and Never Say Never Again. It's a lot to cover. So we approached it a bit like our covermount episodes, only we decided to rank each song from 001 to 007 cause how could we really pass up that chance? We also give a little bit, the tiniest smidge, of detail about each film its place in the canon and the critical and audience receptions for each film. And song, where appropriate. Ready? Shake your Martinis and let's get stuck in.

What if we told you that the musical history of James Bond is actually so much more interesting than the history of the films? And that's not knocking the history of the films - they're plenty fascinating too. The music though? Super interesting. From the theory and the cultural cache of the Bond song, to the near misses and the rejected tracks, we cover a lot in Side A of our look at the music of James Bond.

If it feels like the length of our episode are getting longer on average then you'd be correct. This is likely because we have lost all pretence of restraint around how comprehensive we are. This week, we're joined by Scott Walker for the Shit You May Not Have Seen Podcast to do a fairly definitive overview of the band Biohazard. A band who are also quite unrestrained... Many would believe that there's not a whole lot to say about Biohazard because pretty much all of their albums plough the same furrow. Turns out, there actually is a lot to say. Over 2 hours worth of things to say. The band are actually somewhat interesting in how they tried to change their sound over the years. Attempts that were so unsuccessful that the albums aren't actually available on streaming platforms. There's good reason for that - it's cause they're nu metal albums. Anyway, on this episode we dive deep into their catalogue and also chat about the NYC hardcore scene they came up in, and touch a little on how it evolved over the years. Big thanks to Scott for joining us and picking this album. You can find his excellent podcast here.

Here it is. Another whopper of an episode. But this one has lots and LOTS of contributors. From one time and former hosts and a bunch of your suggestions too, we tried to be as comprehensive as possible within our little sphere of listeners. Thanks for your contributions to this episode. It really made it feel like a communal affair, and that's an awesome feeling.

Steve Albini's impact on alternative music is undeniable. From the sheer number of artists he collaborated with to his unwavering defense of fair treatment for musicians, his presence continues to be felt. His anti-capitalist views on the music industry may not have always aligned with everyone's, but his convictions were never in doubt. This influence extended to his unique approach to music. Whether working on his own projects or lending his talents to others, he imbued every recording with a distinct character. So recognizable and sought-after was his style that countless engineers and artists have attempted to emulate it, yet none have truly captured its essence. The deceptively simple brilliance behind his approach will be explored in more depth next week. This week's episode dives deep into Albini's life, career, ethics, musical philosophy, and of course, the controversies that continue to surround his legacy.

This week, much like last week, wanted to provide a vault episode that was a contrast to Thursday, and you can't get much further away from Thursday than La Roux. Chris is a huge fan of this album and because Dave and Mark couldn't quite believe that, this record and episode continually gets referenced on various episodes. It's just so improbable, when you think about it. So it's a really good one to revisit. Hope ye enjoy!

If you thought we'd prattled on about the history of Thursday a little too much in episode one well we've got some news for you - part two is a BEAST. It's 2 hours and 15 minutes long. Why? Because that's the unsung way. We give their discography a thorough analysis whilst continuing to chart the band's history. We also hear about how Geoff Rickly once slept on Sean's couch, and even take a wee detour in No Devotion, too. An episode for the true Thursday freaks, and also one which contains some Bischoff-esque Attitude error booking (iykyk - wait til the end).

Turns out that Chris and Mark are big wrestling fans. Mark moreso than Chris, but still, probably something only die hard fans of the pod are aware of. That's not the reason we did an episode on Rick Derringer's Real American though (otherwise known as Hulk Hogan's theme song). It's because the song is great and comes with a pretty mad story. So yes, please enjoy this foray into one of our rarely visited alternate formats called Unsong.

As a die-hard Thursday fan, this week's guest comes right out the gates in explaining why Thursday he'll always love. And as it turns out, they're quite an easy band to love due to their ethics and overall affability as a band. Geoff Rickly himself often comes across earnestly and well in interviews, which is something Chris is keen to point out and dive into in the first part of this three parter. In Side A we chat about the band's history, their place in both the New Brunswick, New Jersey music scene, as well as their place in the early-00s emo scene as a whole. At the time, they were touted by some as being the next Nirvana but it was a label that never fit the band. We talk about all that, and their journey to becoming a major label act, in this episode.