Episode 4 of Radical Research explores the surreal work of Austrian metalunatics, Disharmonic Orchestra.* Our conversation exposes the psychic tensions and psychedelic grottos of this extraordinary band, one whose music was ignored largely during its heyday and continues, for the most part, to be bereft of appreciation. From the gnashing death/grind of their early output to the strange emotions and nuanced geometry of their mature work, your hosts ask that you listen with perishing passion and immerse yourselves in the addicted seas of Disharmonic Orchestra.

Note I: D’Orch’s third album, Pleasuredome, was released by Steamhammer Records. This has Disharmonic Orchestra keeping unlikely company with Fozzy, Dokken, and Judas Priest. Truth is always stranger than fiction, folks.

Note II: According to the estimable Metal Archives, Austria has given the world 1,147 metal bands. Hunter was able to name 4 of them.

*D’Orch (pr. “dork”) for short.

Music cited, in order of appearance:

“Accelerated Evolution” (Expositionsprophylaxe, 1990)

“Sick Dishonourableness” (Expositionsprophylaxe, 1990)

“Disappeared with Hermaphrodite Choirs”(Expositionsprophylaxe, 1990)

“Perishing Passion” (Not to be Undimensional Conscious, 1992)

“Groove” (Not to be Undimensional Conscious, 1992)

“The Return of the Living Beat” (Not to be Undimensional Conscious, 1992)

“Time Frame” (Not to Be Undimensional Conscious, 1992 — three moments)

“The Silence I Observe” (Pleasuredome, 1994)

“Pleasuredome “ (Pleasuredome, 1994 — full song)

“Nine9Nine” (Ahead, 2002)

“Mindshaver” (Ahead, 2002)

“Rascal in Me” (Fear of Angst, 2016)

“Down to Earth” (Fear of Angst, 2016)

Episode 5 preview: Utopia, “Mister Triscuits” (Another Live, 1975)

This is Radical Research Podcast, Episode 4

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 provide the richest, most rewarding experiences and that music, artwork, and song titles cooperate to produce a singular effect on the listener. We believe music, truly great music, is worth more than we ever pay for it.