Forum Replies Created
-
Posts
-
From Insta:
Real Again
Mad Sun
Sentinels
On My Pillow
Sideway Spiral
Spin Spin Spin
Patterns
Sunchild
All Tomorrow’s Parties
First 4 Songs acoustic:
Dank State
Sunchild
Spin x3
Babylon
Lady May
Whip That Ghost
Magpie
Hell 1-3
United Debased
>Hell 7
Lacuna Sunrise
Ueberpilgrim
X3
Delusion
>Huge H
>NOX
On a Plate (on Setlist but not played)
Diana
You lied
Black to Commmm (not on Setlist)
3:20h. Yes.
Motorpsycho might currently have one of the biggest live-repertoires in their history. So I hope that there will be very different setlists again. Of course, there will always be something from the last two albums, which only a few of us have been able to experience live so far. Mixed with oldies, which the planned releases of Maiden Voyage and I think Lobotomizer could bring with them. And of course one or the other new piece that will let us dive deeper into the future Motorpsycho cosmos. I am very excited and look forward to many great live hours and to meeting up with many of you again. Only one more month!
Tour dates updated with Italian dates:
07.04.2022 – NO Tromso, Driv
08.04.2022 – NO Trondheim, Verkstedhallen
09.04.2022 – NO Alesund, Terminalen
19.04.2022 – NO Bergen, Kulturhuset
20.04.2022 – NO Stavanger, Folken
21.04.2022 – NO Oslo, Sentrum Scene
29.04.2022 – SE Malmö, Plan B
30.04.2022 – DK Copenhagen, Stairway
02.05.2022 – DE Hamburg, Markthalle
03.05.2022 – DE Hannover, Faust
04.05.2022 – DE Berlin, Festsaal Kreuzberg
05.05.2022 – DE Bremen, Schlachthof
06.05.2022 – DE Köln, Stollwerck Gloria
07.05.2022 – NL Nijmegen, D'roosje Sonic Whip
08.05.2022 – NL Groningen, Vera
09.05.2022 – NL Amsterdam, Paradiso Noord
11.05.2022 – CH Fribourg, Fri-Son
12.05.2022 – IT Padova, Hall
13.05.2022 – IT Nonantola, Vox Club
15.05.2022 – IT Trezza sull'Adda, Live Club
17.05.2022 – IT Torino, Hiroshima Mon Amour
18.05.2022 – AT Wien, Flex
19.05.2022 – CH Winterthur, Salzhaus
21.05.2022 – DE Reutlingen, Franz K
22.05.2022 – DE München, Backstage
23.05.2022 – DE Dresden, Beatpol
24.05.2022 – DE Bielefeld, Forum
25.05.2022 – BE Arlon, Entrepot
07.08.2022 – CH Val de Bagnes, Palp Festival
23.09.2022 – BE Leuven, Het Depot
Thanks so much for your effort Vegard! Another forum I saw uses phpBB software. Don’t know if that could be feasible or would fit.
It should be the version from this compilation: Knall the Album Vol. 3
A 7/10 translated from italian by google:
The All Is One
by Marco Biasio
All good at pleasing the undisputed masterpieces of the 90s, the exciting pop phase of the early millennium, even the expanded and psychedelic first fruits gained following the drumming relay between HÃ¥kon Gebhardt and Kenneth Kapstad … Never one who spontaneously affirms, instead, to love – attention, not to appreciate: to love – the adult Motorpsycho of the decade that is dying out, fickle architects of their own destiny: the young boys of Trondheim struggling with superb synthesis between indie rock and seventies prog (the still underestimated today "Behind The Sun â€of 2014), adrift on the crest of touching lysergic explorations (“ Here Be Monsters â€, 2016) or trapped in transitional discs (“ Still Life With Eggplant â€, 2013). Or, again, the musicians caught grappling with the ambitious four-handed rock operettas with StÃ¥le Storløkken (the sparkling "The Death Defying Unicorn" of 2012, the less fortunate "En Konsert For Folk Flest" of 2015), the artisans of the soundtracks live (“Begynnelserâ€, 2017) and the promoters of unusual transgenerational collaborations (such as the one with Ole Paus, which resulted in the discreet “SÃ¥ Nær, SÃ¥ Nær†at the beginning of the year). The thinking minds, finally, behind the latest important conceptual installation, the self-defined GullvÃ¥g's Trilogy (named after the painter who made all the covers), of which today the (double) twenty-second full length "The All Is One" – successor of the non-despicable albeit discontinuous “The Tower†(2017) and “The Crucible†(2019) – should constitute the final chapter.
The reasons for the relative critical lukewarmness with which the recent production of Motorpsycho has been received, especially in reference to the golden eight years 1993-2000, are various, multiple and interconnected: from the regression to a more conservative and rock oriented style to realization of works that are too long for the actual amount of ideas put in place, from the conscious choice to transfer the format of live improvisation to the hardships faced within the line up (the inclusion of alternate plates of Reine's second guitar Fiske, the abandonment of Kapstad and the takeover of the surgeon Tomas Järmyr). It is perhaps no coincidence that, in presenting "The All Is One" in great detail (initially scheduled for spring), Bent Sæther seems almost to apologize, for the first time, to his listeners: "It has become one intense listen, an epic and dense piece of music that might be perceived as demanding by some listeners, but that also hopefully rewards those with patience and a longer attention span ". As if to say: it is precisely when a phase seems to have ended that the immediate relaunch awaits around the corner. To be honest, we would have to open a long parenthesis on how effectively the "new" Motorpsycho have deviated from the mission of the "old" or, in other words, if this creative phase of theirs is nothing more than the other side of the coin nineties (the same band seems to think so), but it is a discourse that would take us, perhaps, too far. Certainly far from the punctual concreteness of the eighty-five minutes of the platter in question, recorded between September and November 2019 in three different sites: the Black Box of Noyant-la-Gravoyère (where, in the previous June, "Så Nær, Så Nær" was also recorded ), Giske's Ocean Sound and Kommun ', Trondheim's home studio.
Straight to the point: although the lyrics do not shine for acumen (rather verbose, for example, the text of the title track, a generic tirade against information at the time of post-truth) and the acoustic recordings are far below expectations at this time – “Delusion (The Reign Of Humbug)†has all the air of being a Yes outtake: “A Little Light†is an elementary folk sketch turned off in a disturbing dark ambient suck; “The Dowser†a superfluous semi-electric ballad that slavishly follows the melodic progressions of “Big Surprise†-, “The All Is One†is the best record of Motorpsycho since the aforementioned “Behind The Sunâ€. This, mind you, not due to the presence of who knows what innovations: on the contrary, the (non) novelty is that there are no news. What stands out, if anything, is the unexpected quality of a writing which, in its direct inspiration from the best pages of the recent past, produces excellent results on at least three fronts: the more drawn and classically rock songs, the orchestral hybridizations and, not for last, the renewed tribute to its indie roots.
As for the first side, even apart from the robust proto-hard rock charade of the enthralling single "The Same Old Rock (One Must Imagine Sisyphus Happy)", one cannot fail to mention the title track which, opened by a subtle bluesy pizzicato ( from Leaf Hound's "Freelance Fiend" to Pontiak's "Young", always there we are), immediately swells the sails in the direction of a polyform Crimsonian rhapsody propelled by mellotron winches and epic constructions of acid guitar solo, finally arriving at a delicate final waltz for piano, accordion and electric arpeggios. The second is of course represented by the mammoth suite in five acts "N.O.X." (forty-two minutes in total), inspired by alchemical and astrological themes and evolved from the music for ballet that the band, on commission, performed at the St. Olav Festival last summer together with faithful associates and friends Lars Horntveth (Jaga Jazzist) and Ola Kvernberg. Although the influence of the tonal jazz rock grandeur of some passages of "The Death Defying Unicorn" is undeniable here (take the furious rhythmic attack of "NOX V: Circles Around The Sun, Pt. 2", almost a "The Hollow Lands "squared) and the sin of overabundance always lurking (of the interminable" NOX IV: Night Of Pan "only the last five minutes really like and convince, a tense reinterpretation of the Gong always on the verge of breaking), the elements no shortage of surprise: from the noir projections of Horntveth's brass that redouble Kvernberg's floating violin in the opening of “NOX I: Circles Around The Sun, Pt. 1 "(closing in deadly crescendo, a foaming jazz-prog maelström) to the overwhelming groove of" N.O.X. II: Ouroboros "(almost an improvisation by Bushman's Revenge arranged by the Brimstone), up to the ecstatic instrumental visions of the shorter" N.O.X. III: Ascension (Strange Loop) "(a suspended and unreal American, crystallized in timeless forms of elegy). However, it is the third side that reserves the real world-class hits: already warned by the high tones of Sæther's evergreen singing in "The Magpie" (the Rush passed through the filter of "Timothy's Monster", and it is a compliment), the definitive breakdown comes with “Dreams Of Fancyâ€, a melancholy indie heart-diving anthem garlanded with sparkling hard-prog rosettes. The closure is semantically coherent: “Like Chrome†is a slacker full of panoramic views and stuffed with Zeppelin licks, something that for mood and construction would stand out in the lineup of a “Black Hole / Blank Canvasâ€.
The substantial criticism that could be moved to "The All Is One" is, if anything, of a structural nature: from this tracklist, for distribution of the songs even before mere minutes (rather cumbersome, specifically, the central presence of "NOX" , which actually risks weakening the impact of the pieces that precede and follow), it was possible to obtain at least two distinct discs, avoiding the anthology effect that occasionally comes to the mind of the listener. Or is it perhaps a side effect of the tunnel of memory that each of us retraces, with bittersweet and poignant saudade, every time that riff, that voice, that melody reemerges from the grooves of the vinyl?
