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I know it's not a good idea to post before getting a few good spins, but I can't help myself. Will also be fun to see if I change my mind, so prepare for desperate back-pedaling down the road. But a few quick first impressions (just streaming this so far until I can get to a record store)
– somebody said "What a weird record". I don't understand that at all. This is one of the least weird Motorpsycho records in their cannon if you ask me. And to my ears, that's a bad thing. It's not that it doesn't contain melodies and twists that you may heir as "weird" on their own, but on the whole, this album is perhaps the most overtly "prog" record they've ever made. There's not really anything that stands out to me as being inconsistent With a prog genre record. It's got a Motorpsycho sound and feel, but my first major impression is that it's missing that X-factor of the unexpected and inspired. It's obviously tempting to compare it to The Tower, and in that comparison it falls short by several marks IMO.
The Tower was a classic Motorpsycho record, it had short and long songs, concise and melodious parts, noise, rock and progressive grandeur. None of it could be clearly labeled as such and such though. It was, in essence, Motorpsycho music, and damn fine at that. It sounded like the band working more like they did in the mid-late 90s, being in the moment and catching lighting in a bottle, but doing so by starting With a set of really good songs.
My first impressions of The Crucible is that it sounds more self-conscious, and overtly "progressive". It's like every song starts out with an announcement; "really big statement ahead". Maybe that's why I end up being slightly underwhelmed. It reminds me of the Here Be Monsters era, even if the sound is slightly different. Others have mentioned The Unicorn and Little Lucid Moments (the suite) and those are all good comparisons.
All that said, this is based on just a quick first listen. I certainly enjoy it and I put it to very tough scrutiny here. It might grow. I like Psychotzar a lot, and perhaps that's because I have heard it several times already.
BTW, this down-tuned riffing that Snah has been doing lately is also a bit of a nod to Motorpsycho's early days. It was all over the first few albums up to and including Timothy's Monster (at least the early version), but then the alternate tunings seemed to take more over.
Perhaps revisiting Demon Box inspired this?
Overall favourite Sabbath album: Sabbath Bloody Sabbath
Sabbath completely over-the-top great but album not-quite-making it to the absolute top: Sabotage
Album with the absolute best track: Volume 4 (Wheels of Confusion).
Sabotage has the band probably at their peak – the riffs are simpler than ever yet heavier than ever. Their collective power was so staggering by then that it's almost like they can't control it….the music controls *them*. It's strange – it's probably the album I like the best for those reasons, but as an *album*, of songs, arrangements and Production, I think SBS edges it out.
Sabotage is the bomb.
I just gave Psychotzar another listen on a proper system. I like it much more now. Definitely something interesting going on even in this very Sabbathy mode. It is very much like a continuation of Bartok and Cuckoo. Sounds promising if the album total offers more variety too.
Just gave it a very brief listen via crappy computer speaker, so not much to judge by, but…
I like it just fine, but as others have mentioned, this Sabbathy thing is something they have done a *lot* starting with Heavy Metal Fruit. A certain way the song melody weaves around the riffing which is starting to sound a little formulaic. That said, I think Anders is onto something – even if this is derivative, they still do it better than anyone else. And as the song goes on, there's enough interesting stuff going on to make it worthwhile, even if the song/melody itself isn't particularly impressive or innovative. Gotta love the gong though.
I'm anxious to hear the rest of the album, but judging by this track alone I don't think it'll match The Tower. That was a marvellous album because they let loose and just did it all…this track sounds more self-consciously "proggy" and Motorpsychy. They are at their best when they are not aiming to do one particular thing.
Hearing that they are already writing new stuff is very exciting though.
Yes, yes, yes! I have been begging for a return of the Radiator Freak for 20 years. I got to hear it in 1998 and it was great, even if it was difficult to reproduce live. Lots of audience noise during the quiet bits. But a quartet version would be cool.
Anyone know what the venue in Genova is like? Would that be a good destination for a single gig (don't think we can squeeze in more than one).
Interesting to see a lot of people agree with me that Manmower is better without the jamming. I think they have done some beautiful live versions, particularly the very low key '98 ones. But I am not a fan of the drawn-out noodley ones they have done lately.
Bartok has also been singled out. It is so immensely powerful in its studio Version, so even if I the one they did in Drammen recently was very good, they don't seem to nail that Sabbath-y heavy swing live.
Plan #1 has always been killer live, even if it usually stays very true to the formula. I think the power of that one is increased live.
Interestingly, while STG is one of their best live songs overall (the über-skronky '98 versions are off the chart great!), the impact of the main riff when it appears after the intro is never as great as on record. Probably to do with dynamics and how the PA and amps just can't deliver the punch in the same way in a live setting.
The same problem is apparent with The Golden Core. It can be a transporting experience live, but usually there is annyoing audience interference, and a lack of additional oomph and punch for the final cathartic crescendo.
Trying to convince some friends that we make our annual city trip to somewhere coinciding with Motorpsycho's tour program this year. It's about time I saw a gig or two on the continent! Italy would be my preferred destination, but it depends on some logistical factors.
On another note; is there any info yet on what the "Motorpsycho & Friends" show at Øya is about. Could it be….Trust Us album gig?
But I do agree about your assessment of the Drammen gig. I didn't get it into the mood, but mostly out of the circumstances (up on the gallery, no alcohol, and the most annoying drunkard 5 feet away talking loudly during most of the show). Musically it was fine, and Cuckoo was indeed great.
I am the lowly, filthy individual who doesn't enjoy a jammed-out Manmower. I just think some of these jams they get into these days are extremely predictable and un-Motorpsycho-like. No motor, no psycho, just a lot of jazzy noodle. And this comes from a jazz lover.
But it also depends on the mood and the moment, so I fully accept that they jam it out in search of something. Sometimes they hit, sometimes they miss. In the case of Manmower, however, I think the original song is so beautifully crafted, the pacing is just right and it slays me emotionally every single time, even 20+ years later. Any jamming on this one just dilutes the impact, at least to my ears.
Had some good times seeing AMT in the very early 2000s. The Motorpsycho Connection is there…sort of… AMT is much looser and don't seem to do much in the songwriting Department. That has always been Motorpsycho forte over any other similar bands – the ability to structure the material a bit more and write really, really good songs.
AMT always struck me as being closer in spirit to early 70s kraut and space bands. Their name reveals one very obvious connection/inspiration.
I'll agree Lacuna was pretty good in Drammen – at least there was *something* happening during the middle section. I love the theme/song, but the mid section frequently drags on with not much happening. Taifun was beautiful but does not, IMHO need the extra part tacked on at the end. Bartok was strong with some wild soloing from Snah, Cuckoo similarly strong. Dream Home was also a very good version with nice parts from Lars H. The highlight was easily The Wheel which was great and very, very heavy. Manmower is another one of those stunning songs which do not benefit from the extended jamming. At least it was relatively brief in Drammen.
I was up in the gallery on the left hand, and the sound was actually very good there. Not too loud either, I always use earplugs at Motorpsycho gigs but actually didn't use them this time. It didn't seem that loud up there.
When I say the gig was average that means it was still very good. Just didn't transcend to the next level. But the Tower songs were played very, very well. STG with Snah on the 12-string was interesting. Played faster than before, but the 12-string emphasized the folky(!) element of the song. Can't remember the last time I heard The Wheel live (Øya 2006?) so that was easily the highlight for me.
Lastly, one of my pet peeves; please, please don't make every song a jam song. It is not needed.
