09 Feb Episode 62 – Under Separate Cover
Episode 62 of Radical Research challenges the notions of identity, probes at both the masks and the faces themselves. What biology occurs when the firstborn cleaves to the breast of another? This conversation claws at the God-playing reconstructions of Type O Negative, Ulver, Manfred Mann’s Earth Band, and Gorgoroth, among others. To do or to undo? That is the question.
Correction: Jeff quotes a line from A Perfect Circle/Failure’s “The Nurse Who Loved Me” as “say hello to the floor’s topography.” Obviously it’s “the rug’s topography.” We couldn’t be more embarrassed, because that is one of the greatest lyrics in rock history and it deserves better than us. Oops.
Big Dumb Skulls is mentioned in this episode, by way of talking about our pal Matt Johnsen. If you’re uninitiated and curious about the ridiculous project Jeff dreamed up with Matt, check it out here: www.bigdumbskulls.com
This is the fourth Radical Research episode to feature something about Norway’s mighty Ulver. For the record, the other three are episodes 1, 16 and 33. It can’t be too long before we find a fifth excuse…
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Music cited, in order of appearance:
Anacrusis, “I Love the World” (Manic Impressions, 1991)
Manfred Mann’s Earth Band, “Father of Night” (Solar Fire, 1973)
Anathema, “Hope” (Eternity, 1996)
A Perfect Circle, “The Nurse Who Loved Me” (Thirteenth Step, 2003)
Ulver, “Solitude” (Shadows of the Sun, 2007)
The Futureheads, “Hounds of Love” (The Futureheads, 2004)
Shudder to Think, “So Into You” (Pony Express Record, 1994)
Queensryche, “Gonna Get Close to You” (Rage for Order, 1986)
Gorgoroth, “Slottet I Det Fjerne” (Destroyer, 1998)
Carnivore, “Manic Depression” (Retaliation, 1987)
Type O Negative, “Summer Breeze” (Bloody Kisses, 1993)
Voivod, “Astronomy Domine” (Nothingface, 1989)
Ep. 63 preview: Alchemist, “Closed Chapter“ (Lunasphere, 1995)
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.