Unsung Podcast

Unsung Podcast

di Unsung Podcast

Episode 4 - Violator by Depeche Mode

Some argue that 'Violator' is some of the best work Depeche Mode has ever produced. Others beg to differ. With a catalogue of 14 albums, we ask if this record is the clearest representation of a legendary band with a storied career.

Episode 3 - Foo Fighters by Foo Fighters

The Foo Fighters' first record is the sound of a man who just had a bunch of songs he felt people needed to hear. Is it their best album? It's something we talk about in depth on this episode.

Episode 2 - Jane Doe by Converge

Jane Doe by Converge is widely hailed as one of the best hardcore records ever made. On this episode we discuss its legacy, and ask if it's worthy of such high praise.

Episode 1 - The Remote Part by Idlewild

Esplicito
In episode one of Unsung our hosts dissect Idlewild's major label debut 'The Remote Part' and discuss why it should or should not be kept in a discography of great records.

Episode 1 Teaser

This is a teaser for Episode one of the Unsung Podcast. Chris, David and Mark will discuss the ins and outs of Idlewild's major label debut 'The Remote Part' and then you guys will decide if it deserves to be inducted into our discography of amazing records. The show launches on December 15th 2017.

Exploring the Magickal History of Coil (Part 1) w/ P6 from OMO, Desalvo, Stretchheads and Security

Coil have a reputation for being genuinely difficult: ritualistic, transgressive, the kind of band you approach the way you'd approach a locked door marked "occult correspondence, keep out." So it's a bit disarming that this episode opens with hand-written Christmas cards from Jhonn Balance and Peter "Sleazy" Christopherson, sent to a teenage psychiatric nursing student in Paisley who wrote to them out of genuine fandom. Coil, it turns out, wrote back. The student in question is Phil Eaglesham, or P6 as he is perhaps better known, formerly of Desalvo, Stretchheads and currently of OMO and Security. He's returning after breaking our brains once already with Cabaret Volatire, and this time he's turned up armed with decades of correspondence, first-hand context, and a refusal to let Coil calcify into myth. We trace the band from Jhonn Balance's teenage letters to Throbbing Gristle, through Psychic TV and the deliberately porous, ceremony-blurred confrontation of early industrial music, into the Temple of Psychic Youth and its uncomfortably close relationship to actual cult structure. We get into the brass dildos sent to record labels as a two-fingered thank-you-for-nothing. We get into AIDS-era queer culture, MDMA, and the particular kind of self-medicating grief that eventually caught up with Balance. And we get into why a band this steeped in the esoteric and apocalyptic was, underneath it, trying to build something more human and more DIY than the mysticism suggests. Jhon Balance himself suggested that Coil would forgotten within ten years after their end. They weren't. Whether that's a triumph of the work outlasting the intent, or proof that even planned obsolescence can't out-manoeuvre a good back catalogue, is something you can decide for yourselves. And we'll give you a bit of time to do that, because there's a whole second episode of this still to come next week. Highlights 00:00 – Welcome back, Phil Eaglesham 00:04 – Setting the scene: resources, Tony Dickey, and the Coil album map 00:06 – The letters: correspondence with a psychiatric hospital 00:10 – Reading list: England's Hidden Reverse and Everything Keeps Dissolving 00:14 – A quick word from our sponsors (that's you) 00:16 – Origins: Jhonn Balance, Throbbing Gristle, and teenage letter-writing 00:20 – Psychic TV forms, Warner Brothers money, and the 23 brass dildos 00:23 – Temple of Psychic Youth and its uncomfortable proximity to cult logic 00:27 – Coil as an alternative: queerness, esotericism, without the cult of personality 00:29 – Ecstasy, connection, and the AIDS-era comedown that became alcoholism 00:32 – "In ten years, nobody will remember" — legacy, reissues, and Mute Records 00:34 – Sleazy in Bangkok, and his death in 2010 00:39 – Peter Christopherson's design career: Hipgnosis, Pink Floyd, Sex Pistols 00:42 – The boy shop window, the leg, and the police raid 00:44 – Industrial music's roots in performance art and danger music

IN SESSION: Jonzip from The Zips Talks About the Life and Times of Being in Glasgow's First(ish) Punk Band

Esplicito
This week we sit down with Jon Zipp of The Zips — one of Glasgow's original 1977 punk bands — for a conversation that doubles as an oral history of Scottish punk. The Zips' story is a strange and charming one. Formed in '77, gigging by '78, split by the end of 1980 after two small-run EPs — 500 copies of the debut, sold out in six weeks — the band lay dormant for over two decades until a record collector tracked down the drummer via the West of Scotland phone book. It turned out The Zips' records had been bootlegged all over Europe, their EPs had become prized collectors' items, and a new generation of bands citing the Clash and Buzzcocks as influences had made the world safe for them again. They've been at it ever since, complete with a "Zips USA" franchise lineup, European squat tours. But the real revelation of this episode is John's first-hand account of Glasgow's infamous punk "ban". In the late 1970s, Glasgow City Council — having decided after a Stranglers gig at the City Hall that the city "had enough hooligans without importing them from down south" — made it known that any pub or venue hosting punk bands risked losing its licence. The effect was chilling: a generation of would-be Glasgow punk bands strangled at birth, touring acts like Elvis Costello turned away on the day of the show, and a city now famed as one of the great music capitals of the world temporarily hostile to the most vital music of its era. Along the way we get John's reflections on punk's flirtation with fascist imagery and provocation, why John Lydon is his biggest disappointment (and Paul Weller one of his quiet triumphs), the surprising resurgence of very young audiences going wild for original 77-style punk, and a truly outrageous tale of how, with his post Zips band in the 80, how he blagged — via the Mitchell Library's phone books and Harvey Goldsmith's office — onto a 30,000-capacity bill at Ibrox with Rod Stewart in 1983.

FROM THE VAULT: Split 7" - Our Perfect Festival Line Ups

Esplicito
We reach into the vault this week to extra an old bonus episode that has a fairly unique format we liked to called the Split 7". In this episode, we talk build our own festival line ups. ORIGINAL SHOW NOTE We’re going to be 4 years old soon and for pretty much every single week of those 4 years (with the sole of exception of around this time last year when a technical issue made us lose an entire episode) we’ve been able to release an episode a week. However, this week we just couldn’t. Some life things got in the way and we had to take care of that. We couldn’t just leave everyone hanging though, so we decided to reach way back into our vault of bonus content and excise this little gem from back in October 2019. One of our subscribers, Chris Hynd, asked us what our perfect festival line-up would be and we duly obliged. So enjoy as Chris, Mark and Dave talk about who would play their festivals. We will return next week with special guest Neil from The Accordion Podcast as we talk about Finelines by My Vitrol.

IN SESSION: Mark Davyd from the Music Venue Trust Talks About How PRS for Music Refuse to Show Artists The Money

Esplicito
In this interview, Mark Davyd, founder and CEO of Music Venue Trust, mentions the "famous" and famously misattributed Hunter S. Thompson quote about the music industry. It goes "The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." It's now common knowledge that Thompson didn't actually say this, or at the very least if he did it wasn't about the music industry. Mark acknowledges as much in this interview. And yet, it remains a perfect summation of the music industry at large even today, and in this interview Mark expounds upon that at length. In April 2026 he unleashed a series of 4 Substack posts which shone a light on the dodgy dealings of the UK's performing rights body PRS for Music. In them, he details how each year millions of pounds earmarked for artists who perform in grassroots music venues is "held" by PRS because they are unable to attribute it to anyone — ostensibly because many of the artists who are due it have never signed up to PRS, and thus the money goes unclaimed. After 3 years, this money is then distributed to the largest music publishers and most successful songwriters in the world. The true figure is difficult to ascertain due to the opaque nature of PRS' reporting, but it is estimated to be around £18m — more than the combined profit generated by all 800+ grassroots music venues in the UK each year. What's happening is, in effect, a reverse Robin Hood scenario where huge amounts of money are being transferred to the most high-profile, wealthiest musicians and publishers. In this episode we dive deep into those 4 articles with Mark, getting to the heart of all that is rotten with the current PRS model, the organisation's response, and some suggestions for how it might be fixed. You can read Mark's articles here: Part 1: https://markdavyd.substack.com/p/prs-for-music-and-the-grassroots Part 2: https://markdavyd.substack.com/p/prs-for-music-and-the-grassroots-5a0 Part 3: https://markdavyd.substack.com/p/prs-for-music-and-the-grassroots-618 Part 4: https://markdavyd.substack.com/p/prs-for-music-and-the-grassroots-3d9 Highlights: 00:00 Grassroots Cash Grab 00:24 Meet the Hosts 01:46 What Music Venues Trust Does 03:30 COVID Crisis Response 07:23 Venue People Helping Venues 09:16 Why PRS Matters Here 12:45 How PRS Works 16:02 Unclaimed Royalties Problem 21:35 Archaic Setlist System 23:22 Tariff LP vs Tariff P 27:35 Real World Money Example 30:40 Show Me the Money 32:00 Unclaimed Royalties Black Box 32:58 Venue Economics And Losses 34:00 Rules Court Case And Publishers 35:53 Broken Reform Promises 39:20 Why PRS Won't Change 42:00 Estimated Bills And CCJs 44:44 Scale Of Grassroots Impact 48:18 Audio Recognition Solution 55:08 PRS Rebuttals And Backlash 59:16 Wrap Up And Where To Read

FROM THE VAULT: Corollaries by Lubomyr Melnyk

Bonus
This week's episode is another FROM THE VAULT as we travel back to one of our (sadly) many episodes that were recorded during the pandemic. This one is actually a condensing of two episodes on the weird/genius/odd/interesting music, and personality, of pianist Lubomyr Melnyk. Enjoy! Chris has been chomping at the bit to do this Lubomyr Melnyk album for a while. In fact, some may even remember that he brought it up during our Pandemic Mixtape. Well, the time has come to finally tackle this post-classical/minimalist work and in doing so we absolutely had to cover his…interesting thoughts on musical philosophy. Which cascades into his questionable thoughts on the actual science of how sound works. Which takes us down a big old rabbit hole, as I’m sure you can imagine. All of this to say that it takes us a while to get to the album as a result. Also, the dude’s done like 20+ albums (although we don’t cover all of them) so that’s another whole thing we had to deal with. We also talk about continuous music (the genre he reckons he’s in…of which he is the only practitioner), his incredible piano playing speed and a bunch more things. Our voyage into continuous music comes to a close as we dig into Lubomyr Melnyk’s eighteenth (!) album Corollaries. For the unfamiliar, Melnyk categorises his style as being something almost beyond classical music, yet this release sees him team up with neoclassical composers Nils Frahm and Peter Broderick. This album seemed to give Melnyk a new lease of life; upon getting together with Frahm and Broderick he stated “Where were you in my thirties?”, a statement that stands in stark contrast to his general aversion to playing with other musicians in the years before. There’s a lot to be said about Melnyk’s playing, and I think we cover most of that in the episode. Once again, potato quality audio from Mark but hey, it isn’t terrible.
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