Episode 87 – Dax Riggs & Deadboy 2003-04: It’s Just All Illuminated

When onetime Acid Bath and Agents of Oblivion vocalist Dax Riggs took himself to the outermost reaches of his imagination with Deadboy & the Elephantmen, he reached the highest of creative and emotional heights. After the first Deadboy album (If This Is Hell Then I’m Lucky, self-released, 2002), Dax and band went through a number of changes before arriving at the more stripped down and, in our opinion, disappointing We Are Night Sky (Fat Possum, 2006). This episode focuses on the incredible material Dax/Deadboy were working on in their most transitional and obscure phase. The total godhead. Note I:We urge you to witness this performance of “Evil Between the Numbers”: https://www.youtube.com/watch?v=SIaA387CnXA 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:http://radicalresearch.org/shop/ Music from a Dream in Which We Die Before We Wake:“Evil Between the Numbers,” Grant St. Dance Hall, Lafayette, January 24, 2004 “Filling Empty Holes,” Spanish Moon, Baton Rouge, April 25, 2003 “Never Mind the Scenery, It’s Only Bleeding,” demo 2004 “Wicked Tongue,” demo 2004“Thing in a Jar,” Mermaid Lounge, New Orleans, April 18, 2003 “Fly on the Eye of the Lamb,” Grant St. Dance Hall, Lafayette, January 24, 2004“Sigh of Wolves” aka “Burn Before You,” Grant St. Dance Hall, Lafayette, January 24, 2004“What the Stars Have Eaten,” demo 2004“Quiet Doom,” Spanish Moon, Baton Rouge, April 25, 2003“Stranger to Reason,” Spanish Moon, Baton Rouge, April 25, 2003 “Scarlett of Heaven nor Hell,” Grant St. Dance Hall, Lafayette, January 24, 2004 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.