The 10th installment of the Radical Research odyssey pries into the amorphous body of work that has been known to your hosts privately as “Ginncore.” Based around a loosely-connected confederacy of artists — mostly American and mostly active during the difficult-to-define ‘00s — Ginncore has come to embody for Messrs. Wagner and Ginn a cryptic and subversive narrative in modern rock’s often-blighted history. Over the course of two hours, your hosts examine the work of 9 artists, whose music often wrestles with the tensions be...
The 10th installment of the Radical Research odyssey pries into the amorphous body of work that has been known to your hosts privately as “Ginncore.” Based around a loosely-connected confederacy of artists — mostly American and mostly active during the difficult-to-define ‘00s — Ginncore has come to embody for Messrs. Wagner and Ginn a cryptic and subversive narrative in modern rock’s often-blighted history. Over the course of two hours, your hosts examine the work of 9 artists, whose music often wrestles with the tensions between commercial ambition and the pursuit of rarified expression. In this shadowy space, deep hooks are draped over thorny time signatures and signal declares an alliance with noise. This is Ginncore and this time, it’s personal.
Note 1: Hunter mentions during the discussion of Cave In’s epochal Jupiter the influence of several bands, such as Radiohead, Hum, and Failure. However, he fails to cite the title of Failure’s Fantastic Planet, which one would assume had a deep influence on Cave In. We urge you to check out that album, if you’ve not already done so. And, if you like it, we also think that you need to find a copy of Thought Industry’s Short Wave on a Cold Day.
Note 2: We talk briefly about the vocal glories of Chino Moreno, which are not confined to Deftones. We also recommend checking out his work in Crosses, Team Sleep and Palms, which find him working in more understated contexts.
Note 3: Rage For Order. Not Ginncore. But rules now, rules forever.
Music cited, in order of appearance:
Cave In, “Requiem” (Jupiter, 2000)
Glassjaw, “Pink Roses” (Worship and Tribute, 2002)
The Mars Volta, “Frances the Mute” (The Widow single, 2005)
The Mars Volta, “Teflon” (Octahedron, 2009)
Deftones, “Cherry Waves” (Saturday Night Wrist, 2006)
Mew, “156” (Frengers, 2003)
Mew, “The Zookeeper’s Boy” (And the Glass Handed Kites, 2005)
Coheed and Cambria, “Ten Speed (Of God’s Blood & Burial)” (Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness, 2005)
3, “Amaze Disgrace” (Wake Pig, 2004)
3, “My Divided Falling” (The End is Begun, 2007)
Dredg, “The Canyon Behind Her” (El Cielo, 2002)
Dredg, “Ode to the Sun” (Catch Without Arms, 2005)
Fair to Midland, “Golden Parachutes” (Arrows & Anchors, 2011)
episode 11 preview: Carbonized, “Lord of Damnation” (Disharmonization, 1993)
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.
From Peter Hammill to PFM, Carbonized to Confessor, Radical Research dissects the work of rock and metal’s most daring artists and albums.
This is Radical Research Podcast episode 10
