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@Bartok: Thanks for clarification! That's the great thing about true art. It is universal and you can project it onto whatever you like. The grand topics life/death, mythology, specific incidents like the one mentioned here, personal eyperience.
Sorry, i don't have it. I didn't even attend the show. The drummer topic popped up randomly and doesn't relate to the show. Went a bit off-topic.
Yeah! Dense and concise sounds great. Nice continuation regarding the artwork. Is it the whole painting or a section of it?
To get it straight, there really was a public discussion about possible glorification in an unreleased song in Norway?
Besides the psychosophical dabblings, I definitely need to correct my verdict upon first listen live, stating that the song structure was messy. Complete BS! :mrgreen: LA is total beauty! Perfectly arranged, sublime harmonies, you name it. It has everything I love about the band! Potential classic!
When Motorpsycho comment on current events or issues they keep it rather abstract and metaphoric – an approach I prefer a lot over direct statements. Ocassionally there are more or less obvious hints, e.g. ship of fools, but it's always universally valid so that the art stays independent from what it refers to, or might refer to.
Regarding the "possible" Lux Aeterna/Breivik-Link, I am not familiar with the crime beyond what was in the media, but maybe it is not so contradictory to link it to the end of 2001 after all. I always understood the final scene of the movie, as a metaphor of man being eager to get beyond its mere existence, eventually approaching the insurmountable frontier that is his mortality/insignificance. The idea being that acts of evil and perfidy in massacres, like the one on Utøya, or any other genocide work as an allegory to some sort of approach to the edges of humanity, putting that insignifance and minuteness on display. "there’s nothing left for anyone to say"…what do you say after such a thing happened? So, that's us? This is what humans do? Fuck.
Might be a bit of a stretch, and a rather somber take admittedly, but that was my first uneducated guess. Maybe the whole lyrics and the context of the album will bring some revelation.
Oh, what did I spark!
@ThorEgil Thank you for the link! Consider me proven wrong… a little!
That is definitely straight forward playing. Like I said, I don't question Tomas' capability to play such stuff, yet hardcore/metal drumming is a bit of a different story though I think. Maybe "groove" is what puts the finger on it more precisely. @supernaut Sorry for opening old wounds! But "Indie police"….ouch, that hurt :lol:
Of course, you're perfectly right that they became better players and I definitely don't want them to return to the past. I perfectly understand that they have to keep it exciting and challenging for themselves.
@grindove Yes, as you point out that "static" drumming certainly was on porpuse. For me, it doesn't fully carry the song though. That is exactly my point. I think that, while sticking to the straight beat, some minimal dynamics/variations could have breathed more life into the recording.
Excuse the blasphemy! Yet, the point of a forum is to be able to express one's individual perception/viewpoint…however wrong it might be, right?
I definitely consider Tomas' play to be skillful AND soulful when being off the leash. But I think it is a real challenge, especially for extraordinarily skilled drummers, to play a simple beat and keep it exciting without artistic shenanigans, but through feeling and intuition. You know, the krauty, Jaki Liebezeit- or, if you will, Geb-like approach to drumming. That said, I really love technical drumming, but a simple groove can serve as a counterpoint to make both aspects even more exciting and effective.
As for the A.S.F.E. example: Of course tomas handles the song! Please, dude knows how to play! All I am saying is that to me it sounds/feels like it takes him some effort to keep it straight instead of embracing the simplicity of the rhythm and just go for it. It's like a race horse at a pony show.
I absolutely agree with Tomas being an integral part of the band and that they already turned into a really strong unit! Listening to the recording, it is really impressive what he is doing. Still, neither Kenneth nor Tomas (so far) managed to master the "simple" beat. There is not the slightest bit of doubt about technical proficiency/musicality, but to add brilliance and soul to a simplistic, stupid motor-beat is something you probably cannot practice. A prime example being A.S.F.E.(admittedly a bit unfair with Tomas being new to the band). On record and also live, I think you could hear and see that Tomas doesn't know how to handle that silly fucking beat and it is all a bit drum machine-like :lol: Geb would be grooving/punching the shit out of it without unnecessary ornaments and just the right amount of variation and dynamics. If that approach somehow would make its way into Tomas' play every now and then, i would be really happy.
Sorry for that brief relapse to nostalgia. I am grateful for MP being the band they want to be.
Gentlemen, you really triggered my curiosity regarding that Lux Aeterna recording. I am 100% unfamiliar with Dime/Motortrades though. Is there any way for me to get a hand on it? @Spacebandit, thanks for the recording/sharing effort!
Probably just a matter of feasability with 2nd guitar currently being a revolving door. I really enjoyed the stuff Kristoffer contributed, but I think Reine fits the character of the band better and I hope he's not too busy with Dungen and able to stick around for a bit. They usually rehearse during sound check, so there might be some gems popping up on the remaining dates.
Dream home
August
Starhammer
S.T.G
Ship of Fools
Feel
A Pacific Sonata
Triggerman
Bartok
Lux Aeterna
The Wheel (Massive!!!)
The Tower
2:15
Bit of a mixed evening, to be honest. The crowd was in the mood and the band as well, but somehow the magic didn't happen (for me). Sound was very good and well-balanced most of the time. They started off strong, but after Feel they ran a bit out of steam it appeared. Pacific Sonata is a beautiful song, but does not carry such a long jam. Triggerman was a nice choice, but also lacked a bit of energy. Bartok is a solid rocker, but there already was quite a lot of mid-tempo riffing at that point and i had hoped for something else. Well, the new song reminded me a bit of Court of the Crimson King with that bombastic chorus. The song structure was a bit messy with many different parts and harmonies…too much for my ears to judge after one listen. Which leads to the definite highlight of the evening: The Wheel. Wow! With the first notes it was as if you switched on the room. There suddenly was magic going on 😀 Brilliant, massive version! Clocking in at 2 hours after the main set, I hoped that maybe they go for something epic like un chien. Tower was solid, but didn't do much for me. All in all, not a bad, yet a weird concert….setlist-wise/mood-wise. I dont think they were in a particular bad mood, but for some reason they didn't get 100% into it and didn't make the jams take off to celestial heights as usual.
Side note: Bent sported a nice Melvins-Shirt.
