Podcast 2025.03 Danger on the Edge of Town

February 28, 2025

Megaritual

#Doom #PsychedelicFolk #RagaRock #Stoner

Megaritual is the solo project of Australian multi-instrumentalist Dale Walker (also member of Sun Of Man), whose monolithic heavy rock tunes often bear deeper intensity than most four-piece bands would manage to create.
TMODM: What had the strongest influence on Recursion?
Megaritual: Biggest influence on the album would be life experiences, overcoming personal challenges and the all encompassing natural world and mountains that surrounds me in the area I live in.
TMODM: What records changed your life?
Megaritual: Game changer albums for me would be anything by Primus when I was teenager (being in an altered state of consciousness definitely helped) – it opened my mind to the idea that music can be weird and left of centre. The Mars Volta had that same effect on me in my 20’s. More recently, realising that the early Tame Impala albums were the product of one person inspired me to start recording everything myself again like I did in my four track teenage years.
TMODM: What’s next for you?
Megaritual: Already half way through making another megaritual album and also a few separate new projects bubbling up too!

March 21, 2025

Vuelveteloca

#Alternative #Krautrock #PsychedelicRock #StonerRock

Psych-stoner-kraut-chilean rock. Región Metropolitana, Chile. Tomás Olivos: Vocals, guitar Marcos Iruarrizaga: Guitar Juan Gili: Drums José Navarrete: Bass
TMODM: What had the strongest influence on Pantera and why didn’t these tracks make it onto the original album?
Vuelveteloca: The main influence on Pantera was the band dynamic we had at that time, spending a lot of time together, having fun and spending hours rehearsing in our studio. That album has a strong connection with nature, the main subjects of the lyrics are animals, natural disasters and spirits. Musically we were strongly influenced by Neil Young and Crazy Horse (always), Black Sabbath, Ty Segall and some krautrock bands.
Those two songs didn’t make it because they were the last to be recorded and were not completely finished by the time we wanted to release the album. And then we started playing them live and we loved them, but it was never the right time to release them, until now.
TMODM: What records changed your lives?
Vuelveteloca: A lot of records! Oasis’ Definitely maybe, Neil Young’s Everybody knows this is nowhere, George Harrison’s All things must pass, NIN The downward spiral, Bowery electric’s Beat, Don Cherry’s Don Cherry, and a lot more.
TMODM: What’s next for you?
Vuelveteloca: We have big plans, which will be revealed soon…

April 25, 2025

Floral Image

#Surf #ArtRock #Krautrock #Neopsychedelia #PsychedelicRock

East Coast Psychedelia from Norwich, UK
TMODM: What had the strongest influence on Gone Down Meadowland?
Floral Image: Too many to list in full, but for this album we wanted to go for something that was more considered, delicate and well-crafted. Bands like Woods, Stereolab and Vanishing Twin came up when we recorded the album. But we draw from a wind range. We’ve always wanted to combine the weird with the pop.
TMODM: What record(s) changed your lives?
Floral Image: Everything comes back to Lonerism…the perfect neo-psych record. Impeccable grooves, soaring melodies and growly fuzz. Right in the pineal gland.
TMODM: What’s next for you?
Floral Image: The album will be released on 25th April on Fuzz Club records and then in April/May we are touring across the UK and Europe! After that? Who knows…

January 26, 2025

Spunflower

#Classical #Experimental #Krautrock #Psychedelic #AvantGarde #Drone #Experimental #Improvisation #SoundArt

Anthony Taibi, Nicholas Talvola and Luke Aronie
TMODM: You’ve got a diverse range of musical projects. What would you say is the defining characteristic that makes Spunflower distinct from your other work?
Spunflower: Spunflower is a recording project based on three elements- a rotating cast of musicians, the location of the recording and improvisation. Although these elements have existed and do exist in my other musical ventures, they are the focus of my current efforts. Although I consider Spunflower to be a duo at its core, that being myself and Dominic Talvola, I feel the greatest distinction of this project versus previous ones is that I have had more creative control. I feel that this record has had a lot of me in every step, more than my previous works.
TMODM: What’s next for you?
Spunflower: Last spring my wife and I were asked to house sit a historical home in Petrolia California. It’s a beautiful home at the convergence of two streams, secluded and private. We discovered a few days into our stay that locals called it the haunted house. We were not told of the homes history before we agreed to look after it. Dominic and I decided to record the basics for our next album here. Since then the tracks have been sent to our good friend Mateusz Adamcyzk in Poland where he is arranging strings for it. We’re very excited to see how this work progress and share it with everyone.

March 14, 2025

The Tazers

#GarageRock #Psych #PsychRock #Psychedelic

The Tazers are from Johannesburg, South Africa Rock & Roll band served with a tea spoon of psychedelia.
TMODM: What had the strongest influence on Fuzz Machine?
The Tazers: Touring Europe for the first time, we were blown away by the love for rock & punk in Germany. We were inspired and wanted to channel something a little heavier than before.
TMODM: What record(s) changed your lives?
The Tazers: There’s too many to mention, but to name a few: Pink Floyd ‘Wish You Were Here’ – David Gilmour’s guitar work on Shine on you Crazy Diamond is just too good. Led Zeppelin 1-3 are all fantastic, Ty Segalls ‘Melted’ and ‘Manipulator’ also shaped our sound to what it is now. Lastly, I think Wand’s ‘Ganglion Reef’ is also a stellar psych album.
TMODM: What’s next for you?
The Tazers: We have a brand new album that will be released in the beginning of May, and we are starting a month long tour in Europe at the same time – playing in Germany, Netherlands, Belgium, Switzerland and Austria. Super excited to be back on the road touring our new album.

March 17, 2025

Joseph of Kirezi

#HeavyPsych #Jam #Krautrock #PsychedelicRock #SpaceRock #StonerRock

Japanese psych/stoner rock band from Tokyo. Formed in Ikebukuro (Tokyo) in 2012. GOTO : guitar KAWANA : guitar , synthesizer HOSHIKAWA : bass ISHIDO : drums
TMODM: What had the strongest influence on Live at EL PUENTE?
Joseph of Kirezi: being a live recording, this sound is influenced by the venue’s vibe.
The second jam in particular, which we titled “Crack in Paradise,” took on an unexpected feel, and I think that was born from the relaxed atmosphere of EL PUENTE.
TMODM: What record(s) changed your lives?
Goto: The Piper At The Gates of Dawn / Pink Floyd
Kawana: ’77 LIVE / Les Rallizes Dénudés
Hoshikawa: The Golden Age of Heavy Blood / Hanadensha
Ishido: Electric Ladyland / The Jimi Hendrix Experience
TMODM: What’s next for you?
Joseph of Kirezi: We will be releasing “Bleeding Jam Session vol.3” soon on Bandcamp, and we are currently writing songs for the album.

April 4, 2025

The Underground Youth

#GarageRock #Post-punk #Psychedelic #Shoegaze

Berlin-based post-punk band The Underground Youth, led by Blackpool-born musician and author Craig Dyer, return with their twelfth studio album ‘Décollage’. Self-written, recorded and produced by Dyer, the album is an exercise in artistic deconstruction in both name and form, marking a decisive musical shift. Alongside Dyer, The Underground Youth is comprised of drummer and visual artist Olya Dyer, guitarist Leonard Kaage (who also assisted with post-production on the record) and bassist Samira Zahidi. Initially formed as a solo project by Dyer in 2008, the band has sinced released 11 – now 12 – studio albums and 4 EPs, evolving a unique sound that has over the years ranged from cinematic lo-fi psychedelia and raw melancholic post-punk to gothic folk-noir. Throughout they have maintained a devoted global following continuously built upon by the band’s extensive touring through Europe, Asia and North America.
TMODM: What had the strongest influence on Décollage?
The Underground Youth: “Décollage is the art of creating an image by ripping, tearing away or removing pieces of an original existing work.”
My idea was to apply this technique to music. I built walls of static coated hip-hop drum samples, layers of Lee Hazlewood style string arrangements and Serge Gainsbourg inspired mellotron melodies, then I began tearing away at these beautiful, chaotic walls of noise, exposing a new sound for The Underground Youth, spinning from reel to reel on warped distorted old tape. A trip-hop infused soundtrack to a collection of lyrics dealing with adoration, ancestry, originality, hallucinations of revolution and a hope that something better can be born from the ashes of the horror that exists in our world.
TMODM: What record(s) changed your life?
The Underground Youth: The Stooges – The Stooges, Rowland S. Howard – Teenage Snuff Film, Bob Dylan – Blonde on Blonde, Spacemen 3 – Taking Drugs To Make Music To Take Drugs To, Suicide – Suicide, The Velvet Underground – Another View
TMODM: What’s next for you?
The Underground Youth: We’ll release another few singles before the album drops on 4th April, then we’ll be playing live around Europe and further afield from February into summer. After that, I don’t even know myself.

March 7, 2025

Gnäw

#Experimental #World #Ambient #DesertRock #Drone #Nocturnal #PsychedelicRock

“We draw a magic circle and accept a new set of rules that reigns from there,” says Arash Ghasemi in describing the foundation of Gnäw, his duo with Simo Hakalisto. Hakalisto and Ghasemi first met in Milano, but they were born and raised in Finland and Iran, respectively. Gnäw melts together these musical roots with various chips and splinters from the different musical worlds and genres they have collected along the way. While Ghasemi brings an understanding of the vastness of the desert, Hakalisto offers the traditional Finnish “zoner” approach to composition and performance. What they create is a unique approach to Iranian traditional music played on a borderless drone chessboard.
TMODM: What has had the strongest influence on your music?
Gnäw: Self-taught musician Hakalisto was born and raised in southeastern Finland. Growing up he played violin, but dropped it as a teenager and moved on to a variety of electronic instruments. During his studies in Helsinki he was a frequent contributor to different improv collectives, but when he moved to a new town (Tampere) he suddenly found himself without his usual network of musicians and began to delve into the world of modular synths. As he remarks looking back, “it offered similarly uncertain territory as improvisation with other people.”
Ghasemi comes from Tehran. He grew up amongst his father’s vinyl collection and later found further inspiration through his sister’s CDr’s and cassettes. He got his first guitar at the age of fifteen and quickly fell for its raw and distorted sound. He went on to study technical university in Milano where he played in several psych rock outfits, but things really started to happen when he moved to Prague in 2017. He had already met Hakalisto in Milano, where they had briefly jammed, but they did not expand upon that collaboration and form Gnäw until they had both danced on Czech soil.
TMODM: What’s next for you?
Gnäw: basically, we are now finalizing the mix of our third album III

January 27, 2025

Vanishing Trace

#Punk #ArtRock #Experimental #Post-punk #Shoegaze

Vanishing Trace are from Seattle, Washington Kevin Malik – Bass VI, Guitar, Drums, Sound Design Sean Daly – Fretted and Fretless Bass IV, Vocals, Synthesis, Sound Design, Miscellaneous Noise
TMODM: What had the strongest influence on Subliminal Retrograde?
Vanishing Trace: Given our current state of affairs and environment, we figured our only reasonable response to this is to further explore absurdist ideas. The most absurd thing we could think of is to make a pop record (or at least as ‘pop’ as we could muster). We definitely went outside our comfort zone on this one, and while pleased with the outcome, I very much doubt we’ll make another recording like it again.
TMODM: What were the recording sessions like?
Vanishing Trace: In a word, disjointed. Much of the writing and recording was done while I was in the process of moving back to Seattle from Las Vegas, and doing takes in the house I was living in at the time while Kevin was writing and recording his parts separately in Seattle. Also, the original demoing used a drum machine as a rhythm source, then later was swapped with live drums after most of the bass VI and guitar parts were recorded. Some of the songs feel ‘off’ in places, but one can’t exactly put their finger on ‘why’? Again, this was to explore more of the absurdist aesthetic. Or it could be because we made a series of mistakes and decided to keep them as an absurdist ruse? Your favorite answer will suffice here.
TMODM: What’s next for you?
Vanishing Trace: Strangely enough, through the making of this album, I decided to write a counterpoint to it. We have another album mostly finished and should be out in the coming weeks. It is very subdued, ambient, melacholy and largely synth-driven. We’ll be sure to let you know once it’s released.

March 7, 2025

Satyr/Elfheim

#Experimental #Kosmische #Ambient #Doom #Doomgaze #Drone #Krautrock #Lo-Fi #Noise #Noise #Nu-gaze #Psychedelic #PsychedelicRock #Shoegaze

Satyr/Elfheim is the long-running drone guitar project of Pittsburgh’s Richard Magnelli. Satyr/Elfheim incorporates elements of doom, ambient, jazz fusion, and vaporwave, and noise into indelible soundscapes. Most tracks are recorded live. Richard Magnelli – guitar, drum machine programming, drumkit, shaker box, groovebox, Nonna’s bell
TMODM: What had the strongest influence on Tones?
Satyr/Elfheim: Windows96’s album “Plume Valley” was huge. I love the musick on there and wanted to create a similar sonic world where each track represents a landform or something. That was the starting point, though the tracks on Tones all didn’t represent landforms in the end. Either way, “Plume Valley” really gave me some ideas about how to progress with my instrumental musick – digital fusion.
TMODM: What record(s) changed your life?
Satyr/Elfheim: There are many, of course. Here are some notable ones.
• Kiss – “20th Century Masters: The Millennium Collection”
◦ This was the first CD I bought as a teenager, and I was blown away. I had always thought Kiss’ costumes were cool, and I am still inspired by Ace Frehley.
• Ramones – “Ramones”
◦ This album showed me that somebody like me could write great songs and cool musick without a ton of studio tricks, hardcore skills, or tons of money. It’s not like this album is a 4-track demo or something, but it still meant a lot to hear these guys do such great stuff with basic power chords and beautiful melodies.
• Sonic Youth – “EVOL”
◦ This album is the atmosphere I often strive to match! It always reminds me of the late spring into the summer and early fall, when the air is cool at night and I can ride my bike for hours and just fall into a deep trance to musick as the world goes by.
• The Stooges – “Funhouse”
◦ It’s chaos exploding everywhere. Ron Asheton’s guitar is like a muddy siren. The fuzz tone is so good, and the whole band is great! The rhythm section plods along so solidly that Iggy and Ron and Steve Mackey can fly and crash over top over and over again. It’s hypnotic!
• Michiko Naruke – “Wild Arms Complete Tracks”
◦ This is a soundtrack for a video game, and the musick has continued to be so important to me through my life. The spaghetti western style is so cool, and Naruke wears the influence of Morricone on her sleeve. There are such beautiful atmospheres to these tracks and great depth to the instrumentation. It helps that I played the game as well.
TMODM: What’s next for you?
Satyr/Elfheim: I am working on some new tracks. I have many ideas for an album about a primeval, antediluvian, primordial world. This has been an inspiration since the start of Satyr/Elfheim; the first song I wrote and recorded under this name was “Giants Of Earth” on the album “Home Life” 15 years ago! It was just something I did because my band broke up. I had seen Noveller and Thrones play at No Fun Fest in Brooklyn in 2009. I was like, “Whoa I can do ambient doom stuff without a band!” I still play that song live today. I want to refine it with a new version on a new album.

I’m also working on refining my live show. For the longest time, it was almost all improvised. That’s kind of neat, conceptually, but it meant that some shows were great and others were a mess. I would think up names that I would play to and some basic chord progressions, but it could become so chaotic once I got on stage and started going at it. Sometimes I would bring weird instruments like bells or use my PSOne to play sound effects from a game. I recently got a Novation Circuit Tracks, as heard on the track “Celadon Coast” on the new album, and I am working to create more backing tracks and actual sets for Satyr/Elfheim. It’s kinda weird that I never did this before; when I have been in bands over the years, I made it a point to get the transitions between songs to be smooth. Playing a good set matters in my opinion. I still want to have some improvisation, but I want it to be a piece of an otherwise practiced set!

Other than the above, I have some live albums I am putting out next month, some plans to do collaborations with friends, and there’s always room for “Tones 2″…

January 12, 2025

quiet abandon

#Experimental #Experimental #Improvisation #Instrumental #Psychedelic #PsychedelicRock #Sludge #Stoner #StonerRock

quiet abandon is an improvisational psychedelic rock trio from philadelphia. they revel in textures and moods. their improvisations go from fleet footed drone excursions to pummeling heaviness to sometimes sinister ambient zones. music to get lost to. greggo – guitar greg foran – drums abram taber – electric bass
TMODM: What had the strongest influence on this is my blood anita?
quiet abandon: Since we make 100% improvised music, it’s difficult to recall exactly what was stewing in our individual brains as we birthed “sang whine.” The two pieces on this is my blood anita come from the end of an hour+ plus improvisation with a variety of moods and vibes. It’s likely the winter doldrums, cold weather illnesses, and anxiety borne from an impending second Trump term were bouncing about in our collective psyches.
TMODM: What record changed your life?
quiet abandon: interstellar overdrive
other songs have come and gone in the 23 years since i bought the bottomlessly unknowable piper at the gates of dawn at a circuit city in willow grove, the same day as cream’s disraeli gears, declaring to my dad i had just begun to corner the market on the canon of psychedelic music with the brio of a total neophyte whose life would have been utterly destroyed by the raw forces at work on those records. but where disraeli gears is all laddish blue notes and the self conscious auto mythology of joseph cambell, the very same cheeky laddishness at play in piper at the gates of dawn is a ball pit laced with razor wire, expectation and familiarity being used to hide a malevolence that takes years to grasp fully. its chief accomplishment is the swirling proto metal riffing of ‘interstellar overdrive,’ a perfect song standing proudly head and shoulders above other perfect songs of the era by nature of the tension between its seeming simplicity and murderously difficult to anticipate descending runs into the very invention of space rock in real time. more records and experience and actual drug taking would bring a steady parade of songs that could easily have been this pick: any song by can, any song off of live dead, hell even the hours i spent scraping strings with a wine bottle through an old boss phaser, but in my heart of hearts interstellar overdrive remains where music announced its own primal danger as much as it has remained a joy and ever unfolding delight to rediscover. turn out the lights and listen to it again. you’ll see what i mean. – greggo
Greg and Abram would also add Spiderland (Slint), Double Nickels on the Dime (Minutemen), Piano Phase (Steve Reich), Ege Bamyasi (CAN), Come On Die Young (Mogwai), Red (King Crimson), Between the Buried and Me (Between the Buried and Me), Remain In Light (Talking Heads) & The Rise and Fall of Ziggy Stardust and the Spiders from Mars (David Bowie) to the list.
TMODM: What’s next for you?
quiet abandon: Sadly, our guitarist Greggo suffered a medical emergency earlier this month and is currently in recovery. While that puts a pause on any live engagements for the forseeable future, we are still committed to a monthly release schedule that we plotted out before his trip to the hospital. Each Bandcamp Friday, we will be releasing pieces taken the hours of recordings we’ve archived over the last 2+ years. The release will remain exclusive to Bandcamp for the month and then receive wide release when the next set of tunes hits Bancamp. Coming up in April is a set of four pieces from a collaboration with Abram’s dad, Rich Taber, recorded in November 2023 called quiet abe and dad.