Episode 71 – Paul Chain’s Illogical Slow Evolution

Paul Chain’s Illogical Slow Evolution Radical Research interrogates, with few exceptions, the work of artists who operate in the darkest, most cryptic corners of the rock and metal multiverse. The music of Italy's Paul Chain, however, puts to test the inquiry even of the most rigorous and probing minds. For our 71st episode, we engage in a mystery jukebox journey through the vast and often-treacherous topographies of the Paul Chain landscape, and find ourselves reveling in the magic of familiar sounds and speechless in the awe of unidentifiable surprises. Through halls of mirrors and vortices of molten and spectral sounds alike, here we flirt with life and death as it takes on the music and philosophy of Italy's darkest magus.  Note I: Other Paul Chain recordings that we didn’t even mention this episode, which we highly recommend: Opera 4th (1987), Ash (EP, 1988), Mirror (compilation spanning 1985-1996, released 1997) 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: https://www.radicalresearch.org/shop/ Music cited, in order of appearance: “Roses of Winter” (Alkahest, 1995) “Whited Sepulchres” (Whited Sepulchres, 1991) “Solitude Man” (Park of Reason, 2002) “Sand Glass” (Alkahest, 1995) “Ways of Changes” (Park of Reason, 2002) “Ascension of Any Pound” (Park of Reason, 2002) “Lake Without Water” (Alkahest, 1995) “Traffic” (Whited Sepulchres, 1991) “War” (In the Darkness, 1986) “In the Darkness” (In the Darkness, 1986) “Ancient Caravan” (Life and Death, 1989)  “17 Day” (Detaching from Satan, 1984) “Logical Slow Evolution (L) / …In Time (R)” (Park of Reason, 2002) 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.