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From the cover I presume it's going to be less heady stuff – more in the psychedelic freak folk direction, with mushy sound and mushroom head keyboard swirls all over the place and spidery guitar solos with lots of ant- or beetle-like notes creeping underneath
Heads off to Motorpsycho! Btw: More Is More! With MP anyway!
Thanks for recommending the Seliger book – looks very interesting.
The privilege thing is not relevant these days – it could only become once there is enough vaccine for all and there's a substantial number of people unwilling undergo vaccination. As there are good reasons for refusing vaccination (planned pregnancy resp. parenthood), I now consider privileges a problematic item. Nevertheless, they will occur inevitably – private companies (airlines, concert agencies etc.) might want to check your vaccination status beforehand. As long as these are private enterprises there's not much you can do against this.
Let's be unreasonably optimistic – another MP album this summer and a European Tour in October-November would be great!
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…
