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@ Juergen: Yes please! Dresden on Dime!
I find this Dime/Motortrades business confusing. Probably we could organise a regular upload cooperation between those platforms or between regular DIMERS and Motortraders.
I prefer sharing on DIME – and it always looks better on the other side, where you're not
@ Juergen: "nearly every show has been recorded…"
I only know of the two Erlangen recordings, Spacebandit's brilliant Bielefeld effort and now Winterthur on DIME. Is there any more stuff from this Mini-Tour on Motortrades?
If so – could someone please upload it on DIME? As far as I know we Dimers have been doing the same for Motortrades quite often…
@ marc: O.K. – I see the Breivik connection now. Had been thinking of the "Satanic Motorpscho" accusement made by that stupid christian site. But in the context you point out it could well be a reference to the Utøya massacre. We'll probably have to wait until the album is released to find out.
Funny though that the fundamentalist Breivik connection was discovered here at almost the same time as the song's live debut. Another synchronicity?
The idea of (spiritual) salvation is at the core of almost all religious and spiritual systems. The idea of absolute, healing light – a central human perception.
Where there is light there is also shadow in the human world – so it is no wonder almost all salvation ideas have been captured by dictators, terrorists, religiously motivated murderers and so on. It is therefore quite natural that a radical maniac like Breivik also refers to that.
Nevertheless – there's no reason at all to link Motorphsycho to such a kind of distorted spirituality. Leave that to the manic christian fundamentalists…
As I have posted earlier, LUX AETERNA is also the title of a musical piece by Ligeti, used in the final part of the soundtrack of 2001 – A Space Odyssey. Furthermore it is part of the catholic mass, a prayer for the eternal light to shine for the soul after death. Only a corrupted fundamentalist logic could refer to killing in order to serve this spiritual light.
I hear some typical VdGG inverted heavy riffing in Lux Aeterna – especially clear in the Erlangen recording.
btw: Peter Hammill is God! And devil at the same time. With lots of demons in between…
The only other singer I can compare Hammill with is the great late Ronnie James Dio. Strange?
The enormous range of expressions between soft, soothing tones and full-on aggression – both sometimes in danger of losing themselves in their mannerisms (especially in their late periods) but still outstanding. Sometimes unnerving, but still always capable of vocally luring you into another musical adventure.
As for the alledged VdGG prog sterility – that's a fate they share with 80s and 00's Crimson. Still able to spawn beautiful and majestic tunes, but always tempted by dry chord mathematics. Well – bands sometimes dry out with old age. That's what makes the last few VdGG releases hard to listen at times for me.
Their best gig after the 2005 reunion is probably the enormous Paradiso 2007 concert – although in trio format, without Jackson.
https://www.youtube.com/watch?v=GiNDN6igr2M
But back to Lux Aeterna – and trying to top a weird comparison: To me it sounds like Van der Graaf Generator playing on the same stage with 1974 Barclay James Harvest in the court of the crimson king. Quite a disparate yellow jester, isn't it?
@ supernaut: You name it. Good old synchronicity. I have known the phenomenon for at least half of my life. Sometimes just an extension of our more unconscious thoughts in what we realize, sometimes outright spooky. Rationalists speak of "pure coincidence", believers try to find some meaning in it. I think it is something in between – with many different aspects.
Funny that it seems to happen more often in either psychedelic drug-induced or paranoid/mentally deranged states of consciousness. Some people say its an expression of a certain level / circuit of human consciousness that is beyond (or beneath) our every-day perception.
Ha! While I was replacing LUX AETERNA in Kubrik's epic movie by the equally epic Chien de Cologne, MP just called one of their new songs Lux Aeterna (or is it just a lyric quote?) How funny is that?
https://motorpsycho.fix.no/comeonin/forums/topic.php?id=10650
"I guess Motorpsycho is searching for the gun that Anders Behring Breivik left at Utøya."
Only Love…
Tristano was the name of a riff/song, that MP played a lot around 2000-2002, sometimes in combinations with other songs, like in Super-Tristano. The Fishtank version is the only officially recorded one, as far as I know. There was a live version played at the Rockpalast gig (Bizarre Festival 2002) featuring Jaga Jazzist Horns.
If that spiralling melody/riff was actually inspired by Lenny Tristano you'll have to ask Snah. But possible it is, given to Lenny Tristano numbers such as this:
Same spiralling riff structure, I think.
I Just listened to Doremi Fasol Latido (vinyl album) again last weekend, inspired by this thread. Was surprised how shaky and rather untogether the music appeared to me. Once one of my favourite HW albums, it nowadays reflects the state of the band in a period of transition between extended space rock jams and proper songwriting, with Lemmy rather new on board and the driving engine still making weird noises.
(Had listened to the CD remaster version the last times – sounds more powerful and energetic to me).
Classic songs abounding, though imho they find their definitive shape on the following Space Ritual album (almost all of them present, except for Lemmy's "Watcher"). The latter in its shaky, doom-laden form and content rather reprents the overall charakter of DoReMi for me.
My favourite HW year is nowadays 1973 (if you count the december 72 space ritual recordings in), although most of my favourite material is rather obscure: The brilliant London 73 gig which shamefully only exists in inferior sound quality on "Bring me the head of Yuri Gagarin" with propably the best Calvert delivery ever ("Wage War" and "In The Egg") as well as the jammy Windsor Free Festival gig (bootleg) with the first appearances of the "Warrior on the edge" themes and Calverts "Ode to a timeflower".
Another proof for hindu mythology – on the biggest swamp (some say pile of shit) blossom the most beautiful lotos flowers.
Have to weaken down any possible insult – Kiss is just what your 14 year-old heavy rock fan in the 70s and 80s would like to hear and see. A powerful, primitive circus act – probably a little stupid, but funny – who cares! A good base to start from.
And the albums up to Alive II are good – I think the latter probably the best Kiss released on vinyl.
Anyway – today I find them just a big joke: good if you don't take them serious. They overstretched their deserved 15 minutes of fame by far – but what the heck?
I think the major thing HW and MP have in common is the ability of constantly re-enventing themselves in quite different, but always recognizable styles.
I first saw HW in '87 – before they were nothing more than a rumour in Germany, with reminiscences of the early 70s and Silver Machine being played on my favourite radio station throughout my youth in the 80s. Met them backstage in Nuremberg (withoug Brock!) in 91 and was allowed to have a go on Alan's Rickenbacker bass for a minute. Have seen them eight or nine times since then – mostly excellent gigs except for the last one in 2010 which was really just a shadow of Hawkwind. Hawkwind stands and falls (just like MP) with a driving prominent bass, so I can't really understand how Brock committed the same mistake twice by firing Alan Davey in 2007 – but of course you don't know what happened behind the scenes. I thing the latter day Hawkwind were exceptionally strong between 1988 and 95 – with some good live albums around 2000.
btw – One thing HW and Motorpsycho definitely have in common is that you leave their concerts happily and totally exhausted.
The funny thing is I didn't have to edit too much – it really falls together into one massive sight/sound experience. Just a little time-stretching there and then – and I moved a calmer section of the trippy sequence to the front. The rest is coincidence – or sheer genious of the movie author & sound directors.
"Uncle" Lemmy, space operas – it's obvious, isn't it? Probably MP do not show off their Hawkwind influences as Bands like Monster Magnet do (I like them, though…), but there's some Hawkwind in MP's genetic code along with all the progressive and heavy heroes mentioned in that other thread.
If I'm not mistaken, they did a cover of Master of the Universe once or twice in their early days. Golden Cores and Golden Voids…
