Preview Mode Links will not work in preview mode

If there was a definitive discography of classic albums, what should be in it? Host Mark Fraser from The Curator Podcast, and titans of Glasgow music/co-hosts David Weaver from Detour and Chris Cusack from Bloc, discuss and dissect perceived classic albums to decide which albums would make this list. Then, after we've talked it to death, we turn it over to you to decide once and for all via a handy poll. Cast your vote on our Facebook page and let's celebrate unsung classics.


Aug 9, 2019

In many ways, Pitchshifter are an anomaly. Initially staggering onto the scene in a maelstrom of pseudo-Minestry inspired industry metal, although somehow heavier, they were every bit the equal of their early 90 metal peers in terms of sheer ferocity and ambition.

But as they progressed, changing vocalist and embracing a multitude of influences from drum and bass, dance music and more, they begun to shed their one-dimensional skin in favour of something more dynamic, interesting and, perhaps above all, much, much more innovative.

Which brings us to Their fourth album, the title seems somewhat quaint in the modern era, but in a way,  it underlines just how forward thinking they were. With addition of Jim Davies, the erstwhile guitarist for The Prodigy, and a major label deal in the offing, they went full on industrial rock. They combined a bunch of disparate influences from across rock, metal and dance to create a record which has ideas that are still, even now 20 years later, ahead of their time.

Chris has been a fan since the 90s, whilst Mark and Weaver had never really spent time with the band until this record was thrust upon them. What transpired was, we think, an interesting dissection of a band who may very well have peaked with this album, reaching that critical point where their ambition met the tunefulness that would carry them, at least somewhat, into the mainstream.

On the back of this record they became critical darlings in the music press, both for their recorded output and their live shows. At this point, it seems that perhaps their legacy is not as regarded as it should be, and Chris makes the case as to why this album is a proper Unsung Classic.

Agree? Disagree? You know what to do.