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 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.

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:

[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.

00:00 – Cold open and Toast of London chat
05:14 – Who is Julie Christmas?
10:25 – Vocal Style Breakdown: fragile-to-feral
14:45 – Women screaming in heavy bands
21:00 – Made Out of Babies discography walk-through
36:00 – Battle of Mice and a post-metal relationship collapse
41:56 – Mariner – the Cult of Luna collab that actually works
44:45 – 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?

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.