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I support the idea of privileges for people that have been vaccinated. Not basic privileges, but certain allowings in the cultural sector. This would help artists and clubs as well.
What makes this critical is the way of handling – it is our craving for convenience and our digitally supported laziness that creates the monsters. It would be sufficient that clubs or theatres check vaccination proofs at the entrance. No need of feeding critical data to those always data-hungry organisations with all the dangers implied: abuse of data, stigmatisation of non-vaccinated people etc.
So it is just the "tried and tested" software that presents the danger here, not the alledgedly "barely tested broth", that might change our lifes for the better again.
Fantastic! Best Møster! album since "Inner Earth" imho. Full onslaught as expected, but some melody appears here and there without ever dominating the full blown chaos. Reminds me of the more radical Soft Machine tracks/gigs around 1969/70 – yet fully up to date music. Motorpsychedelic Free Jazz!
Found this drifting on the waves of the web:
Who are these kids on stage? And who is the Mads Mikkelsen impostor on bass & vocals? Could have been a younger me in the audience as well – year of my first ever MP concert.
Thanx a lot for shooting & sharing!
I begin to believe this band really exists
If you all get your motortrade invitation – could you see that any exclusive stuff there is also transferred to DIME? It does work the other way round, so please…
Great Pics, Thor – extraordinary as usual
Btw.: New stage setup? I notice Bent playing stage left/audience right side for the first time in a long number of years. MP's way of "social distancing" on stage?
What a setlist! Take no prisoners! Hell, NOX AND Crucible included… Diana & X-3 back…
Something you can probably get away with when you're playing three gigs in a row in the same location.
Wow – great compilation! If you didn't know already you could well guess where MP is coming from musically. I'm quite curious about the song they will write for ESC one day
@ supernaut: O.k. – a voice from the opposite end of the Psychonaut spectrum. Fine with me – we're as diverse as it gets. You're welcome!
I gave N.O.X. (TAIO side 2) another try this morning and began to understand my lukewarm reactions to this piece. What I miss is the raw power and energy that made the Crucible title track such a blissful experience. I think N.O.X. suffers greatly from the mix, with drums and bass too subdued in the background, while violin and keyboards dominate. That eats up much of the motor and some of the psychedelic engergy. I personally have always loved most the tracks where Bent's bass is loud and raw in the foreground, on a par with the guitar and the drums. This powerhouse is here being swamped by lots of polished keyboards without delivering a convincing composition or satisfying tune. Too much mediocre prog in my not so humble opinion.
Therefore I do prefer Sides 1 & 4, much to my own surprise. "Same Old Rock" has become my favourite by now, and I also like "Delusion" and "Like Chrome". Still that's not enough for me to make TIAO a completely satisfying aural experience. Probably my expectations were too high, pushed by the quality of the previous releases and the fantastic cover.
But let's not complain – there will certainly be another album in a few month's time – and, knowing Motorpsycho, it might by something completely different. And maybe all the polish on TAIO vanishes when the stuff's being played live. Who knows…
With all the raving reviews in that other thread I wonder what I'm doing wrong in still not getting closer to "The All Is One". Are MP just now reaping the harvest for years of excellent albums with that one?
It often happens this way: a band in a certain phase of their career, be it start or re-start, has to build up public acknowledgement over several releases, often never getting the applause they deserve, until suddenly reaching windfall with a last effort that carries all the momentum (not necessarily living up to the quality of what came before).
For Me "TAIO" is probably the fourth or fifth best album MP has released since 2014. After N.O.X. could not convince me entirely I tried a compilation of the more structured, simpler stuff for a lenghty train journey, but still those numbers didn't match those other songs I compiled from several rather recent "side" outings such as the Motorpnakotic Manifests, the Supersonic Scientists bonus tracks or The Light Fantastic and of course the California EP. Probably the latter stuff is more headphone-friendly…
While thus having learned to regard all those hyperenthusastic reviews of TAIO with a little scepticism (probably with all the bandwith and variety of the web these days bands create their own (very specialized & enthusiastic) reviewers instead of the other way round, like it used to be in the olden days, when critics literally made – or destroyed – the bands ) there's still the chance that I'm just being slow on the intake. Admittedly Here Be Monsters, The Tower and The Crucible got me at once, but BHBC is just now releasing its more distinguished flavours for me after all these years. So probably I'll champion TAIO in 20 years, but until then please forgive me for still being a little sceptic…
Still need much more growing time, but I do think this is the album with the best MP artwork for years. No wonder given the Gullvag contribution.
There is of course a little visual pun in the fun photo of the band included, with reference to the alledged ballet/dance piece inspiration for the N.O.X. suite.
Watch this: https://www.youtube.com/watch?v=JPh7yq_5UBM (around 0.36)
Got my parcel today. First impression after listening just once: Business as usual.
Rather mainstream – by Motorpsycho standards, that is. Nothing really boring, nothing too overwhelming. Nothing really new – not the overwhelming experience I had when first listening to "The Crucible". Songs not half as original as on "The Tower". Side 3 a quasi-electronic motormechanic destructive commando listener torment like the middle part of the "Here Be Monsters" title track. Great bass arithmetics/counter rhythms on Side 2 – comparable to the instrumental heavy part of 577 (live version). Great guitar work as always. Very competent drumming.
Rather weak vocals in typical Yes-style harmony washup.
So – your typical first encounter of another Motorpsychedelic opus. Let it grow!
