Radical Research Podcast

It began with suffering and ended with screams (and whispers). St. Louis' radically-progressive Anacrusis never enjoyed the recognition they so deserved, but popular neglect did little to temper their potent vision. A product not only of the ‘80s thrash scene but also of the fertile post-punk and alternative rock landscapes, Anacrusis mined an especially personal sound that reconciled the aggression of the heaviest metal with a plaintive, often painful, sense of melancholy. On their final two albums, the towering Manic Impressions and Screams and Whispers, the band developed a harmonic guitar strategy that continues to test the limits of innovation. On this, the 34th episode of Radical Research, we survey the expanse of the band's four albums and hope to convert both initiates and skeptics to the Anacrusis faith. Note I: In 2010, Anacrusis independently released re-recorded versions of their first two albums, Suffering Hour and Reason, with the original lineup (Nardi, Heidbreder, Emery, Owen). While we unde

Men Behaving Badly: Trashed Productions What is music if not sound? In episode 28, we discussed the mathematical properties that have shaped some of rock and metal’s most extraordinary albums. In episode 33 of Radical Research, we expand our investigation into the controversial, often divisive, sounds of some of metal’s most remarkable albums. We will take a look at the fevered, heading-straight-for-the sun mania of Born Again, the vacuum-sealed, bass-less thrash of …And Justice for All, the clinical blasphemy of Blessed Are the Sick, among seven others. Join us as we get into the weeds and meditate on the strangeness that occurs when men take to the studio and behave badly. Note I: There will likely, as with “Bad Ass Fusion Decapitations” (episode 5) and “Synth Whores” (episode 16), be a follow-up to this episode. The metal canon is full of weird productions, some wonderful, some acts of self-sabotage. Note II: Related to episode 32 and production/producers, Thought Industry chose to work with Dave “Ra

In less than 10 years’ time, Michigan’s maddest scientists, Thought Industry, built a five-album discography that drew upon every available atom and protein in the rock and metal corpora. From the mutated post-thrash of its debut, Songs for Insects, to the melancholy, cosmic vistas of its watershed swan song, Short Wave on a Cold Day, Thought Industry never abandoned their quest for invention and, like the noblest and most knowing bands, drew the curtain on their career at precisely the right moment. Please join us as we pay tribute to these great, mercurial, marginal Michiganians. Note I: All music for this episode was curated by our good friend, Jason Walton, brilliant bassist of Agalloch and Khorada, and host of the excellent podcast, I Hate Music. Hailz! Note II: Thought Industry stylized logo and song titles on their first two albums. Everything was lower case except the Os, which were capitalized. We don’t play that game, but if we did, it would look like this: thOught industry were sO tOtally bad-a

Crawling out of Manchester to work strange machinations on the English psych-pop era of the late 1960s, Peter Hammill and Van Der Graaf Generator’s sonic architecture was a mirror to that decade’s creative promise and a murder of its utopian ideals. They documented their deeds throughout eight albums between 1969 and 1977, revving up the electrostatic contraption again in the 2000s when the world might have finally been ready for them. When we wear the Keep Prog Weird slogan on our backs, it is the spirit of Van Der Graaf Generator we honor and praise. Note I: Chris Judge Smith wasn’t mentioned in this episode, but should have been. He founded Van Der Graaf Generator with Peter Hammill in 1967, but left in 1968 after the recording of the band’s first single, “People You Were Going To” / “Firebrand”. He’s been recording as a solo artist since then, and as of 1994 has been simply known as Judge Smith. Note II: www.lotfp.com for all of your weird horror and fantasy role-playing needs! Music cited, in order

We here at Radical Research like a good departure. Whether that means the beginning of a vacation or the sixth Journey record, departures are just good for the soul. And so goes the third record by Germany’s Deathrow, Deception Ignored, which constitutes a break from the band’s heaving thrash origins and a migration to technically-advanced thrash territory. This episode celebrates the evolution of the Düsseldorf-based quartet and highlights some of D.I.’s most exciting and alarming moments, such as the instrumental high water mark, “Triocton.” Join us on our deep dive into the recesses of tech-thrash history. Note I: Your LOTFP Weird Fantasy Role Playing discount code for this episode: www.lotfp.com Coupon Code: TRIOCTON Note II: Just like the good ol’ days of RadRe, lots of tangents here: Destruction, Metallica, Megadeth, Anthrax, Holy Terror, Kreator, Blind Illusion…it’s gonna happen when we’re talking Deathrow ’88. Note III: Markus and Sven of Deathrow are on record as disliking Deception Ignored. We

Under the guidance of bassist Ralf Hubert, Mekong Delta’s initial phase featured a revolving door lineup of Euro-metal luminaries. Adopting pseudonyms and lurking unseen in shadows, Mekong plied a brand of progressive metal that drew inspiration from composers such as Modest Mussorgsky, Aram Khachaturian and Alberto Ginastera, to name just a few. Never lacking in speed and intensity, Mekong Delta were the technical, antithetical other side of the coin to Germany’s more caustic thrash blitzkrieg. Note I: Your LOTFP Weird Fantasy Role Playing discount code for this episode: Broodmother SkyFortress https://www.drivethrurpg.com/browse.php?discount=9484bab643 Note II: MEKONG DELTA PSEUDONYMS/MEMBERS, 1987-1994: Ralf Hubert aka Björn Eklund – bass. Leader/writer for all Mekong Delta albums. Peter “Peavy” Wagner aka Jake Jenkins – vocals/bass. Didn’t play on an album, left early but remained as lyricist for first two albums. Best known for his role as leader of long-running German band Rage. Jochen Schröder - g

As Pythagoras mused, “There is geometry in the humming of the strings, there is music in the spacing of the spheres.” So too is there magical energy in the shapely contours of the most mathematical rock music. In this episode of Radical Research, we trace out a heritage of calculus embodied by bands on the acute end of the rock spectrum. From the rarified, Bartok-ian rock of King Crimson to the wildly dynamic Sturm und Drang post-rock of Slint, this episode focuses on the identification of rhythmic land mines and the surreptitious emotions located therein. Keep your vintage TI handy and join us in the liberation from the tyranny of 4/4. Note I: Confessor’s “Condemned” features some of the mathiest metal ever mathed, with a puzzling drum part by Martian percussionist Steve Shelton. Let us know if this helps – mostly likely it will not: https://www.youtube.com/watch?v=_54BL0aOt5ENote II: Makers of math rock tend to lean toward ridiculous song titles. Some are featured or mentioned in this episode -- here are a

A Skeptic’s Universe is what happens when student becomes master. Spiral Architect’s school years were spent in obscurity, honing their craft, learning their lessons, keeping their noses to the grindstone. In 1998 they began work on their master’s thesis, and in early 2000, upon publication, earned a spot on the lonely pedestal of top-tier tech metal. While owing debts to Watchtower, Fates Warning, Psychotic Waltz, Sieges Even, Toxik and Cynic, the young Norwegians upstaged them all with a most vicious merging of high-test progressive metal, bubbling fusion ferocity, and laboratory-borne aural pathogens. Music cited, in order of appearance: “Spinning” (A Skeptic’s Universe, 2000) “Excessit” (A Skeptic’s Universe, 2000) “Moving Spirit” (A Skeptic’s Universe, 2000) “Occam’s Razor” (A Skeptic’s Universe, 2000) “Insect,” two passages (A Skeptic’s Universe, 2000) “Cloud Constructor” (A Skeptic’s Universe, 2000) “Conjuring Collapse,” two passages (A Skeptic’s Universe, 2000) “Adaptability” (A Skeptic’s Universe, 2

Angular, adventurous, and apocalyptic in nearly equal shares, few bands scratch the collective itches of Radical Research like Victoria, British Columbia’s Nomeansno. From their punky beginnings to the nuanced terror of their mature work, Nomeansno trafficked some of the most dangerous and dexterous rock music of the '80s and '90s. Accompanied by venomous libretti - Rob Wright May be responsible for rock music’s most articulate extrapolation of Hannah Arendt’s theory of the Banality of Evil - Nomeansno summoned a heady din of seething, twisting, mongrel-music. Peerless in a peer-friendly world, Nomeansno takes the road never traveled.Note I: Caveat! We talk for 7 or 8 minutes at the beginning of this episode about drummer Vinnie Colaiuta before we get into Nomeansno. Note II: Due respect to Mama, Sex Mad, The Worldhood of the World (As Such) and Dance of the Headless Bourgeoisie. All Nomeansno albums are recommended by Radical Research! Note III: Rob Wright is the man. For a long time, he looked like Phil

Pytten’s Chamber Music: Black Metal in GrieghallenAs the ground began to swell in early ‘90s Norway, a shadowy figure known to metal fans only as “Pytten” (ne Eirik Hundvin) ensconced himself in Bergen’s Grieghallen Studio and began to document the work of the country’s Young Turks. In this frontier territory, Pytten used the cavernous spaces of Grieghallen to create a miasmic, atmospheric sound that would establish the production aesthetics for the emergent global black metal movement. For its 25th episode, Radical Research examines the morphology of Pytten’s work across a ten year span, as well as his cooperation with some of black metal’s most emblematic artists. Note I: We so appreciate our Sponsor, Lamentations of the Flame Princess, and urge you to go deep with their various RPGs! Get Frostbitten and Mutilated at a Triumphant Discount: https://www.drivethrurpg.com/browse.php?discount=9ff813a5dbNote II: There isn’t much interview documentation or footage on Pytten, but here’s a great video that reveal

Emerging from the swampy wastes of Florida, Nasty Savage created a body of work built on the inimitable vocals of Ronnie Galetti (aka Nasty Ronnie), hammering percussion, and a harmonic guitar language that has yet to be replicated. This episode of Radical Research takes a focused look at the band's most feverishly creative period, represented by 1987's Indulgence LP and 1988's Abstract Reality EP. Neither thrash nor power metal nor prog, these two pieces of music vibrate at a pitch all their own, but have influenced artists who occupy a broad space of the heavy metal spectrum. Join us as we disinter these savage gems and apply the RR scalpel. And remember: You Snooze, You Lose!Note I: Nasty Savage was among the first metal bands to popularize the use of Morrisound Studio in Tampa, Florida, which would come to be known as the crucible of the then-primordial Florida Death Metal scene.Note II: We briefly mention the cover art that attends the two subject albums, rendered by Lewis VanDercar. Your Radical Researc

This game originates from one Jeff plays semi-regularly with our pal Tim Hammond, where CD-Rs fly back and forth between the Boros (States and Greens), and one has to puzzle out the other's mystery tracks. It's been an effective way to both discover new stuff and learn about things to avoid. This episode Jeff and Hunter play mystery tunes for each other. We'll likely repeat this point-5 feature on occasion, so if we're keeping score, it's Jeff 1, Hunter 0. But maybe Hunter gets .5 for his guess of...oh wait, it's a secret. Music cited, in order of appearance: sorry...nothing to see here...move along, you lookyloos!

The possibly despicable term “art rock” is where pop, prog & rock meet, with a generous layer of quirk embedded throughout. Art rock is pop without restraint, prog with good table manners, rock stretching its creative fibers beyond the norm. And yet, gray areas abound! In episode 23 of Radical Research, we offer an hour-long survey of several artists in this realm: Crack the Sky, Be Bop Deluxe, Godley & Creme, Split Enz and Max Webster. Leaping off from the platform built by the Beatles, David Bowie, Roxy Music, 10cc and Queen, we crash-land onto beguiling terrain. Note I: Other than the featured artists & foundational art rock gods mentioned above, more bands we recommend not featured in this episode: Alan Parsons Project, City Boy, Brian Eno (1973-1977), Phil Manzanera, Citizen Band, Angel (1975-1976), Manfred Mann’s Earth Band (1977-1980), Buggles, Japan, Sparks, Tubes, Eddie Jobson/Zinc, and even select Cheap Trick tunes. Blue Oyster Cult also intersect with this family of bands. And there

It would be inaccurate to say that Germany’s Pyogenesis is underrated because, in fact, they have hardly ever been rated at all. Over the course of their career – which is still in process – Pyogenesis worked across a wide swath of genres, including death/doom and alternative metal, before settling on a mostly-unsuccessful foray into pop-punk. The 22nd installment of Radical Research dedicates most of its time to the band’s finest piece of music, 1995’s inscrutably-titled, Twinaleblood. Our 70-minute conversation digs in deeply to the album’s daring mosaic of sounds and styles, which ranges from the Type O Negative grandeur of “Undead” to the hooky alternative rock of “Weeping Sun.” The album was an island in 1995 and remains so in 2018, bearing the visionary mark. Note I: Immense appreciation to RR listener Giorgos Ketigenis for supplying mp3s of the early demo and 7 inch tracks.Note II: Hunter knows The Archaic Course is a Borknagar album and not an Arcturus one. We both get excited and lose our minds a lit

Meet the creatures Plotkin & Dubin, instigators of some of the most beguiling music ever beamed to Earth from a  New Jersey-shaped quasar. Like the guy in the petri dish on the Musical Dimensions… album cover, your puzzled Radical Research hosts consider the bizarre landscape before them and dive into the peculiar tumult of OLD. Note I: We can only assume “sleastak,” from the album title The Musical Dimensions of Sleastak, is a reference to Sleestaks, an extra-dimensional reptile race from 1970s Saturday morning show, Land of the Lost.Note II: We briefly mention Khanate, a post-OLD endeavor of Plotkin & Dubin, but the wealth of material and collaborations James Plotkin became involved in after OLD’s demise is impressive and worth mentioning. First is Flux, whose 1997 album, Protoplasmic, was a direct successor to the trail followed on OLD’s Formula. Not to mention membership in the short-lived Khlyst, supportive roles with Scorn and Namanax, and collaborations with Mick Harris, K.K. Null, M

From the dark past, in the light of freezing moons and through funeral fog, Mayhem reappeared in 1997, under cover of night and to relatively little fanfare. Wolf’s Lair Abyss, the band’s first release since 1994’s epochal De Mysteriis Dom Sathanas, reveals a fiercer, future-forward approach to Mayhem’s trademark hailstorm black metal. Time has been kind to this EP and so your Radical Research hosts have pulled out the cuneiform in order to decipher symbols of bloodswords. Note 1: With this EP, we see the reappearance of two former Mayhem members, Maniac and Necrobutcher. This lineup would go on to record two full-length albums, 2000’s black-tech masterpiece, Grand Declaration of War, and 2004’s steely Chimera. Note 2: The EP’s final track, “Symbols of Bloodswords,” features a chord progression that would become a motivic device on Grand Declaration of War. Radical Research suggests a back-to-back listen for maximum effect. Music cited, in order of appearance: “From the Dark Past” (De Mysteriis Dom Sathanas,

Goodbye clarity, hello obfuscation… Norway’s other post-black metal duo, perhaps dwelling deeper in obscure shadows than Solefald… we hail Fleurety’s dedication to the dark arts and… which craft? All the ones that bring metal to the most precarious of left-field edges. So bizarre that it makes complete sense. We enthusiastically endorse their mission. Note I: Of all our favorite high school Latin teachers who are also committed metal fans, our favorite has to be Chris Ayers. We are grateful for his help with the Latin translations/meanings in this episode. Chris also has the rare distinction of having attended a listening party for DVC’s Molecular Shadow in Florida in 1992. Note II: The Inquietum CD is the yellowest in either of our collections. It is also a mandatory Fleurety document. Buy it here: https://www.discogs.com/Fleurety-Inquietum/release/10711416 Music cited, in order of appearance: “Descent Into Darkness” (Ingentes Atque Decorii Vexilliferi Apokalypsis 7”, 2009, recorded 2004/05) “Profanations Be

From a kernel to a cosmos. Over the course of a decade and beyond, Germany’s Grobschnitt twisted and bent and stretched a piece of sound that would be known as “Solar Music.” An alchemical collision of Prog, Krautrock, psychedelia, and uncanny theater, “Solar Music” represents a fascinating evolutionary journey and, particularly in its live iterations, reveals a band at the height of its powers. Radical Research dispenses with the Prominence and aims to get to the Core of the matter. Note I: We have to thank Tom Phillips for turning us on. Without him, we wouldn’t know “Solar Music,” and if we didn’t know “Solar Music,” we’d be malnourished. Hail Tom. Note II: If you want to dive in, we recommend these fine releases: https://www.discogs.com/Grobschnitt-Solar-Music-Live/release/7026856 https://www.discogs.com/Grobschnitt-The-History-Of-Solar-Music-1/release/1957738 https://www.discogs.com/Grobschnitt-Ballermann/release/7026664 Music cited, in order of appearance: “Solar Music” (l

The second in an occasional series of brief ambushes. With this mini-episode, we ponder and marvel at similarities between a certain few musical passages. Prompted by our previous episode on Afflicted, we compare/contrast moments of uncanny similarity, one of which is too close for comfort. Coincidence or rip-off? We’re not judging. But you can… Music cited, in order of appearance: Afflicted, “Rising to the Sun” (Prodigal Sun, 1992) My Dying Bride, “The Cry of Mankind” (The Angel and the Dark River, 1995) Solefald, “Philosophical Revolt” (The Linear Scaffold, 1997) Metallica, “For Whom the Bell Tolls” (Ride the Lightning, 1984) Bathory, “Home of Once Brave” (Hammerheart, 1990) Angel Witch, “Angel of Death” (Angel Witch, 1980) Manilla Road, “Dreams of Eschaton” (Crystal Logic, 1983) for all episodes, blog, and playlists: www.radicalresearch.org

Prolific for a brief few years, with curious beginnings and a mostly ignored ending, Afflicted’s supernova burned brightly at its peak. That peak, Prodigal Sun, is the essential cornerstone of Afflicted’s output and is explored in depth here. Psychedelic, transcendent left-field death metal lunacy from far beyond. Note I: As we talk about Afflicted’s 7” era in this episode, we discuss an insane haul both of us made at Manifest Records in Charlotte, NC back in 2003. In the hauls, Hunter bought Primordial’s A Journey’s End, original vinyl pressing, for $4. It’s now going for around $90 on Discogs.com. Jeff’s best score was Mortem’s Slow Death 7”, bought for $3, currently going for around $85 on Discogs. Music cited, in order of appearance: “Consumed in Flames” (as Afflicted Convulsion) (Beyond Redemption demo, 1990) “Viewing the Obscene” (Ingrained 7”, 1990) “Prodigal Sun” (Prodigal Sun, 1992) “Harbouring the Soul” (Prodigal Sun, 1992) “In Years to Come” (Prodigal Sun, 1992) “Astray” (Prodigal Sun, 1992) “Risin