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