Episode 94 – The Real Freakshow: Psychotic Waltz 1990-1996

Over the course of its previous 93 episodes, Radical Research has banged, thrashed, and decapitated but never before has it waltzed. That ends now. Formed as Aslan in 1985, San Diego's Psychotic Waltz released four full-length albums in the ‘90s, each of which challenges all received notions of "progressive metal." Despite being one the most even-handed of metal bands -- not a weak link in the psychotic chain -- this episode pays particular attention to the uncanny, elegant guitar playing of Dan Rock and Brian McAlpin. Their entangled, spiraling guitar tendrils push the instrument to the point of apotheosis in the context of heavy metal. But there is room for all the rug-cutters at this hoedown. Put on your dancing shoes and come join us.

Note I:

Not anything to do with Psychotic Waltz, but we’ve been informed that….”Hunter Wagner” is protagonist’s name in a concept album by a band called Scapegrace and their The Abyss Swallows album. https://scapegracebc.bandcamp.com/track/the-abyss-swallows

Note II:

Please consider donating if you listen to Radical Research often: https://www.paypal.me/rrpodcast We also have a webstore where you can find shirts, CDs, and books, many of them recently restocked

https://www.radicalresearch.org/shop/

Music cited in order of appearance:

“And The Devil Cried” (A Social Grace, 1990)

“Another Prophet Song” (A Social Grace, 1990)

“I of the Storm” (A Social Grace, 1990)

“Out of Mind” (Into the Everflow, 1992)

“Into the Everflow” (Into the Everflow, 1992)

“Little People” (Into the Everflow, 1992)

“Haze One” (Mosquito, 1994)

“Cold” (Mosquito, 1994)

“Only Time” (Mosquito, 1994)

“Faded” (Bleeding, 1996)

“Bleeding” (Bleeding, 1996)

“Northern Lights” (Bleeding, 1996)

“My Grave” (Bleeding, 1996) 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.