25 Aug Episode 53 – It’s All Gone Weird: The Ved Buens Ende/Virus A/B
We love to draw lines and conclusions. We hear links and threads where there may be none, or, on a good day, where we might just be onto something. And we love Norway, especially its music. Especially the weird metal stuff. And we have always found that the short life of Ved Buens Ende and the spirit of their sole album, Written in Waters (1995), lived on within the nutty realm of Virus’s Carheart debut (2003). We compare/contrast these two landmark Norweird albums and find that Carl-Michael Eide has a lot of really great things to answer for. Don’t take this one too seriously…even if we do.
Note I:
It truly all went weird on the back end. Hunter had to call in on his phone, a first…there was an issue with his laptop and microphone. As a result, Hunter sounds like he has either a lisp, a few missing teeth, or been shot full of novocaine. He makes his usual salient points with the expected degree of articulation you’ve come to expect. Thanks for suffering through it.
Note II:
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Music cited, in order of appearance:
Ved Buens Ende, “You, That May Wither” (Written in Waters, 1995)
Virus, “Gum, Meet, Mother“ (Carheart, 2003)
Ved Buens Ende, “Carrier of Wounds” (Written in Waters, 1995)
Virus, “Be Elevator” (Carheart, 2003)
Ved Buens Ende, “Coiled in Wings” (Written in Waters, 1995)
Virus, “It’s All Gone Weird” (Carheart, 2003)
Ved Buens Ende, “I Sang for the Swans” (Written in Waters, 1995)
Virus, “Queen of the Hi-Ace” (Carheart, 2003)
Ved Buens Ende, “Autumn Leaves” (Written in Waters, 1995)
Virus, “Hustler” (Carheart, 2003)
Jane’s Enslaved, “Fenris Size” (1988/1994) (our apologies to Enslaved and Jane’s Addition, and thank you Chris Maycock)
Radical Research is a conversation about the inner- and outer-reaches of rock and metal music. This podcast is conceived and conducted by Jeff Wagner and Hunter Ginn. Though we consume music in a variety of ways, we give particular privilege to the immersive, full-album listening experience. Likewise, we believe that tangible music formats help provide the richest, most rewarding immersions and that music, artwork, and song titles cooperate to produce a singular effect on the listener. Great music is worth more than we ever pay for it.
This is Radical Research Podcast episode 53.