Perhaps the most Chris band of any we’ve done so far, we explore the jazz/math/rock/metal stylings of Italian mentalists Zu. Along the way we dissect jazz rock, and discuss the finer points of this band’s huge discography.
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This week it’s a mixtape with a difference, as the three lads pick three sound tracks from a triumvirate of films that differ wildly in quality. Ace soundtracks though. The brief? Soundtracks from films that were commercial failures.
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Some of us were surprised that Weezer were still a thing, having consigned them to the dustbin of history after their fifth album. This week we discuss their tenth album, the White Album, and wonder if it is their Unsung Classic.
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SURPRISE! Here’s a new feature where one of us buys a record for a quid and then we do a quick review of it for your entertainment, before deciding if we should keep it or bin it. Let us know what you think - we hope to make this a regular thing!
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Our second R&B album is something of an experimental affair as this week we talk about Kelela’s mixtape Cut 4 Me, and discuss how much it seems to have influenced a lot of up and coming alternative R&B artists.
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Arriving on the scene in a whirlwind of psychobilly infused punk n roll, The Eighties Matchbox B-Line Disaster stood out like a sore thumb at a time when garage rock like The Hives, The Datsuns and The D4 were getting much love from the press. On this episode we talk about their debut album, dive into their back catalogue, do a potted history of psychobilly and more.
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The third and final part of our epic interview with Benjamin Power/Blanck Mass is here, and this time we’re talking about three records he’s picked that he reckons are Unsung Classics. It’s a great selection, and the chat is well worth listening too.
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In part two of our interview with Benjamin Power/Blanck Mass we go on a deep dive into his catalogue with him, uncovering some of the methods behind the music, personal favourites, crazy collaborations and a bunch more stuff.
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In our second interview Chris and Weaver sit with producer and musician Benjamin John Power, best known for his work in Fuck Buttons and Blanck Mass. In part 1 we talk early life, early influences, the health of electronic music, broken washing machines and sordid rap-metal pasts.
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Now that we’ve fully recovered from our black metal expedition, we felt it was time to get heavy again. This week we’re talking about Pig Destoyer’s third album ‘Terrifyer’, and we give a little background on the furious, caustic genre they’re a part of called grindcore.
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Is this the first emo album we’ve done? Is this even an emo album? You could argue that Manchester Orchestra shed that particular skin on their third album Simple Math. Mark makes a case for it whilst the other two offer their take, and Weaver crowdsources some of his opinion. Which is nice.
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Santigold’s debut album is a bit of a crowd pleaser, with its indie-credibility and immaculately crafted pop songs, it’s an effervescent, genre bending explosion of a record. But is it perhaps too well crafted? We get into this and more as we talk about her career, music and everything in between.
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Over the course of his career Martyn Bennett took traditional Scottish music in a bunch of interesting directions. ‘Grit ‘ would prove to be his fifth and final record, and it’s a fascinating conclusion to a weird and wonderful career. His legacy is still felt across the Scottish music scene to this day, but is this album the one that should make into our discography?
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The third (or fifth depending on who you ask) album by A Wilhelm Scream still stands as the high watermark in a career which has seen them eschew the skate punk trappings of their early days and forge a new path in a genre loosely described by some as “tech punk”. Is this relentless, technical aural onslaught their best album? You decide.
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This week we’re taking a different approach as we discuss Spotify, big data, AI and algorithms and we ponder over what the future of music looks like when computers start composing the tunes for us. Joined by friend of the pod Dr. Jason Costello.
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Another trip to Scandinavia this week, but what shakes out is a much more effervescent affair than last time as we take on Goat’s debut album ‘World Music’. It’s a psychedelic explosion of a record, one that melds Afrobeat and psyche rock in a wonderful way.
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After bathing in the murky waters of black metal, we felt it was apt to change direction entirely and focus on a hip hop album this week. Along the way we discuss some of the language used by hip hop artists, how this album stands apart from a lot of other hip hop, and much more.
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We’ve given you the history, now we’re giving you our pick of the music. We swing from OG trve kvlt Norwegian Black Metal to third wave hipster fare here, and we touch in a few other artists along the way. Which of our picks is the best? Only you can decide.
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Some of you have been asking for this for a while, and poor David has been chomping at the bit to do it since day one, so here it is: part one of our black metal mixtape. We talk about the history, the ideology, the murder, the politics and the music. Strap in - this is a biggie.
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It’s episode 60, so it’s time for an entirely new feature: a head to head! Chris and Weaver couldn’t decide which …And They Will Know Us by the Trail of Dead is better: 'Madonna’ or ‘Source Tags & Codes’. Which is best? You decide, obviously!
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