Unsung is a Glasgow based music podcast where every Friday we talk about a different record and decide if it should be added to a discography of all time great albums. Then you vote and tell us if we're right or wrong. Stream and download the latest episode below, or subscribe using your favourite podcatcher.
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.
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.
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.
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.
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.
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.
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.
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?
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.
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.
You know the feeling. You’re listening to an album and simply cannot work out why the rest of the planet doesn’t realise that it is a total masterpiece. What the hell is wrong with everyone?
Each week hosts Mark Fraser (The Curator Podcast), David Weaver (Detour) and Chris Cusack (Bloc/Restless Natives), discuss and dissect exactly those kind of albums. Is something an under-rated classic? Did it have a huge and unrecognised impact on the music that followed it? Sure they might be a great band but what is their definitive release?
We’ll put our cases forward to you, the public, then you can vote via our site to decide if our choice really deserves “UNSUNG CLASSIC” status. Hopefully as we progress, we gradually build up a truly democratic picture of the classics that perhaps didn’t make the covers of Mojo or NME but left an indelible mark on our own lives.
We’ll also pepper this discography with interviews where we invite notable musicians to nominate their own unsung classics and speak frankly about their own back catalogues. Plus a few special “mix-tape” episodes where we pick a mix-tape title and each throw a name into the fray.
Interaction is the aim and hopefully, between our oddball patter and your comments, suggestions and feedback we can document some of the truly amazing musical work out there that continues to be criminally UNSUNG.