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@the conscience: Ha! Just read that quote as well these days. In a book called "the art of insult", compiled from Schopenhauer's writings. I'm ready for the next great debate
I find that Rhyme Signatures review stunning itself. The guy really knows his stuff and listened very intensively. Delivering his mammoth review without any cuts would probably be too much to expect, as it parallels its topic (at least "Chariot") in lenght and richness of content
@ the_conscience: dancing is glorious. listening and experiencing ever so. thinking is dancing with the brain, ever so funny and joyful, if you do it without pressure or too much directional intention.
Btw: of course experience is immediate and comes first. But how can you communicate your experiences without comparisons, descriptions, structures? Feelings and ideas need organizing sometimes – as well as our life needs rituals and structures and our society institutions. Too much structure may render you stale and lifeless, but without using brain and language for communication we'd all be dumb smiling isolated happy mystics on our individual mountaintops
Just make sure experience comes first and the rest -structure, communication, comparisons – comes after.
@ Thor_Egil: In the live version of "Chariot" linked above the introductory passage seems a little longer because it is still more homogenic – there has been a little reworking there. The "Cymbaline" tease has been replaced by a proper little melody – more accurately the one of "Selene" on Gong's Angel's egg (resp. "Australia Aquaria" from Daevid Allen's 1988 solo album). They also introduced a guitar bridge before that (right out of Metallica's "Call of Ktulhu"). The starting guitar chords interchanging are of course thouse of Hawkwind's "Seven by Seven" – just before Robert Calvert's space narration sets in. Calvert here being replaced by a wordless fake Gilmour "Eugene" humalong. But enough of the smartass stuff
.I can happily state that "Chariot" has finally clicked with me on the fourth run (the third one in presence of some friends/visitors, so that propably doesn't count). My problem had been the heavy Magma riffing part in the first middle that appears a little dull, if you don't listen carefully. Soundwise I find it a little disappointing because it lacks the power of another rhythm guitar – but that's 3 Man Army live in the studio for you
. Yet on listening closer the riff displays its delicate rhythmic beauty – so that is that. After reaching that point the rest was sheer bliss for me. So never judge a Motorpsycho album by first run…The inner sleeve is something else – where the hell did they steal that colours/typo thing? Reminds me of some obscure Krautrock cover, probably – can anybody help me there? I am sure I saw somthing like that before!
The start of Mona Lisa / Azrael sound very starless-like indeed – there's an overall Crimson feel to the piece in general.
Funny review, that last one – especially through the filter of google translator. Barclay James Harvest 1971 comparison, ha! There's a mocking chariot, driving wheels through the trees, driving wheels, just for astronauts…
Yes, I know, Chariot is supposed to be what was formerly called "Ny Lang". But I remember a much longer introduction part with floydlike vocals that I miss here. I agree – chariot is still way too short, but I would add at least another 5 minutes at the start and then probably 2-3 minutes at the end.
Mona Liza/Azrael ends just perfect for a following Chiend'Espace in concert – direct segue if possible. At the Azra-End I could virtually hear Bent's baritone guitar going didadidadidadadam…
The black disc has landed. 1 1/2 spinnings so far. First impression: much too short. And: an upside down album. Inner gatefold should be album cover imho – and vice versa. Love it very much. I suspect it might be another rip-off motive as MP are wont to produce sometimes. Somehow the almost b/w fotograph and the colour typo remind me of another classic cover, but I can't remember which one. Besides the motive of Tomas sending ripples through the grassy ground with his gong would be a perfect candidate for an ECM cover, b/w fotograph provided.
Listened to side B just once and am somewhat underwhelmed – probably much too high expectations. Another upside down element probably concerning the piece's structure: starts with the end part, then heavy 2nd half, then long, slightly rising progression finally fading out. I'll give it another listen soon…
Side A excellent – but still improved much while listening for a 2nd time. Just Great. Mona Lisa / Azrael the highlight for me at present. Could also have been called Greensleeves Digs Holes in Space
. Probably as close as you get to a pure percussion piece by our Northern rhythmites with the two drummers chasing each other and Snah hectically fuzzing around and about in a very freejazzy way.I love Tomas' input on the album, both the gong parts and the excellent fast drumming he provides here. Can't wait to hear what they're doing with that music on stage.
Btw.: One of these five or six follow-up albums in preparation just now must be an acoustic ambient one with Tomas' gong & cymbals in the lead, Snah soloing on water-filled wineglasses and Bent supplying the rhythm on a kind of talking drum made out of a gigantic glass vase or bottle.
@ supernaut: Metal? Go to hell
(just joking). From what I learned from the interviews we can expect at least five different Motorpsycho albums in the next 18 months. I do hope the lying bit was just the passage about the farmhouse situation…
Quote:Is there a better band in this worldYou're talking about predominantly instrumental stuff, aren't you, gentlemen
And yes – there's lots of best bands around – but no one else does what MP does.
Ha! End of all discussions concerning Metal. Unchain your brain! And another 23 nods to Robert Anton Wilson…
We're reviewing rock music in general and especially metal – sorry for the diversion
Another case of predicting a thread that is still to come (see Bent's 23 favourite metal tracks from 1980)…
@ Punj Lizard: Metal started with the Beatles of course – Helter Skelter. And Stoner Rock as well – I Want You (She's So Heavy). And Motorhead didn't regard themselves as a Heavy Metal Band – of course they were, at least in their later middle stage. And Kate Bush IS prog – beside a lot of other things, notably among them being Kate Bush
. I remember a Motorhead concert in the late 80s where they played "Interstellar Overdrive" (by Pink Floyd of course) at full volume through the massive speakers just before Motorhead got on. That's genre-hopping for you! Lets dump all these boxes anyway…Btw.: A friend of mine who had just been to Nick Mason's Saucerful of Secrets mentioned to me he noticed how close to Punk these early Barrett numbers were…
@ grindove: I can subscribe to almost anything you said above. Perhaps not in detail, but certainly in principle. Especially regarding Sade worship
. (Though I hated her at first, being stuck in trite Metal stuff and – luckily – 70s rock). I still regret having sold Metallica's "Ride the Lightning" and Maiden's "Piece of Mind" and even liked the Scorpions' "comeback" gig at Wacken 2006 – well, featuring Uli Jon Roth & Michael Schenker, what can you say?Even got in a Michael Schenker frenzy lately – probably due to Motorpsycho digging out "Rock Bottom" once again. Still – there's so much Metal stuff out there that's hardly worth mentioning. In the end most of these 80s bands closely clung to the ground or even digged their own genre wholes, while some of the more glorious 70s bands where the real Ancient Astronauts! Hope I don't waste it for me by exagerated expectations, but I'm ready to take off on the new/old stuff…
@ Punj Lizard: Of course it is unfair what I said about Metal in general. While writing I had exactly your arguments in mind, and they are at least partly valid. But If I do shit in somebody's backyard, it is preferably my own – or my metal past, as it were
. Btw: Sabbath isn't metal for me or has become so only in its later stages for a while. But I do have a problem with some "music" – and Metal, Hip-hop and even Prog-Rock for me have the same problem: In their more extreme, let alone more standardized formes they cross the border from living music to "functional noise" – make your standard moves, show your standard outfit, get off aggression, show your frustration etc. – all not bad in itself but not what I digest in my old days
