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@ Tomcat: Könnte eventuell doch noch spontan mitfahren – müsste ebenfalls spätestens Samstag zurück sein. Auch wenn Köln definitiv nicht “Düsseldorf Area” ist ;-).
Bräuchte allerdings schnell ne Antwort wg. last minute ticketkauf:
christof.koehler [at] gmx.de@ Punj Lizard: Three in a row – lucky guy ;-)
Sadly I can’t make it to Leuven – enjoy the concerts. Hopefully a decent recording will materialize in the near future.
@ supernaut: You're a stand out psychonaut, obviously
After listening daily do AA last week, I have almost no complaints left, which is rare for me.
Still in "Chariot of the sun" they could have repeated the first heavy chord sequence before the Magma-style rhythmic part a few times more – it is just so beautiful. But then it is taken up in the end part – so there may be compositional reasons for that. That is lamenting on the highest possible level, of course…
… and this was my other visual association with the inner sleeve of AA:
(colour, positioning and feel of text/text colour contrast).
Interesting combination…
The cover designer did a brilliant job capturing Motorpsycho's musical concept and transporting it to the visual level. Chapeau!
Still intrigued by the inner sleeve. Couldn't find any obvious predecessors – the closest I could get what the Affinity cover, that I uncounsciously had in mind.
Same typo, related composition, parallel nature setting, the central circle motive (umbrella/gong) being reflected in natural elements (ripples in thewater resp. grass), yet great difference in colouring. AA inner sleeve looks like a deliberately dark and almost colourless interpretation of the original motive in a northern forest setting. The Typo nails it down.
@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.
