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Well a record moves one or it doesn't. How to explain why and why not? Although I could name a personal top 5 MP albums list, I'm also always happy to listen to any record outside of those 5. Except for Here Be Monsters. I never really got into this one (except for IMS, what a ride!), but it surely is a favourite for many. Ok Big Black Dog is great, too.
Me too I love when Bent fires up the traktorbass, but would I still do so if it was a constant feature? TAIO's polished production… hmmm…. is it really so? Does it sound more polished and less raw than previous records? I find the only connection (besides the cover art) to TH and TT is the production. Not the music. Sonically I'd say it's my favourite of the three. Though the kick drum on The Tower is sooooo good when in a car. There's a sub ooomph in this close quartered listening environment that I don't hear at home. I think it's not as strong on TC and TAIO but I might be wrong.
Those hypnotic Bent/Tomas grooves shine oh so brightly in NOX II and IV. When it comes to rawness, yes it's held under control – instead of bashing away – for the sake of the listening experience, as in "the path is the goal" (does that work in english? it's a german saying) or in a "less is more" manner. It's like a story arc and patience is the key. Dynamics, layers, subtleness, the strong points of this band being played out in a surgeon's manner.
The very untypical (polished? cheesy? sugary?) keyboard sound at the end of Ouroboros is sooo beautiful. It comes from somewhere way out of the psychoverse but it fits in so amazingly well. Things and tricks like these help them deviate from any signature (as in "stale") motorpsound. Too many bands rely too much on one sound, being afraid of losing some sort of uniqueness.
And one more note about the drums. How brilliant is Tomas' playing during the violin solo in Circles pt I? Maybe it's the not-so-raw production that made me focus on the upfront violin till recently. I really only just noticed them drums in detail lately. But that's the beauty of it. Peeling away layer by layer. Not because of a muffled mix, but because so much is happening at the same time, something upfront, something underneath, all deserving but not fighting for attention, due to being cleverly arranged and mixed. When my brain finally digested this amazing adventurous elaborated violin part, it finally could shift to the drums.
BUT all in all, dunno really about this one. If it wasn't for NOX, if sides 1 & 4 would've been all the album…. can't really say. But blah, who cares about hypotheticals. I enjoy it very much. I have to admit though, I still haven't listened to it as it was intended. It's always either the NOX half or the not-NOX half. Back to back, yes, but not in the proper sequence. Maybe I should do that…
There‘s extensive production credits on the vinyl edition (where when why who) but no detailed notes on who played what.
"We suck at repeating ourselves"
…I understand this in two ways.
One: as a conscious decision. They don't want to ride the same train over the years. If two or three consecutive albums sound similar, then I assume there were too many good ideas for one album. See SLWE and BTS for example. LLM and HMF maybe, too. Or this Gulvag trilogy. You wouldn't want to throw away great stuff just because you did somewhat similar last year. Also didn't they say once they usually pan out the next 2 or 3 years?
Two: Spontaneity. Band meets, jams, throws ideas around, has a certain sense for asthetics and – despite exceptional musicianship – limitations due to musical persona. Meaning, you might play all kinds of stuff but it's always YOU playing YOUR way according to YOUR taste. Of course styles and riffs of days and songs long gone pop up again. It's natural.
MP don't stagnate, nor is their journey a straight line never looking back. It's a wild ride all over the place, looping, catapulting, with the occasional backflips. So there's no will to repeat, but also no stubborn determination to never ever do the same thing again. Hey let's do an acoustic number again, an epic, a jazzy thing, a rocker. Let's get in guests we've worked with before. It's the psychoverse, living and breathing. What happens, happens. So yes, I see Bent's point.
2 years ago supernaut wrote:
Quote:Ship Of Fools!!! Jesus! What a ride! The scope, the musicality, the boldness… well that may be nothing new in the Motorpsychoverse but they still top it after all those years???oh you poor little fool. but you didn't know better back then.
Nice one.
As of not touring until late 2021, I wonder how much of The All is One we'd actually get to hear. They'll have two more albums written by then.
Let’s not forget: as a lyricist Bent isn’t the 25ish carefree boysclub blissard rocker anymore, but a grown man and father caring about reality. And what a reality we have nowadays. Instead of providing post adolescent escapism he speaks his mind. He’s getting to the point, putting the fingers in the wounds. Poetic artistry takes a step back and I for one welcome that, especially because I don’t see any cringeworthy lyrics at all. Yes calling pigs out for short term profit interest isn’t most original, but that’s exactly the point. It’s a sad bland fact commented on dryly. Jaz Coleman style. It’s not about looking good lyrically, but about making a stand. And content over form.
yes, I got a LZ vibe especially during Like Chrome. Made me think that LZ might have sounded somewhat like that in the early 80s if they had carried on. Less mid 70s, more of a next step after In Through The Outdoor. Still rockin but with a bit of a handbrake on. In a good, "musically matured" way. Which isn't me downplaying LZ, far from it. Me huge fan. But their focus shifted on their last album towards understatement (especially Page) by freeing themselves from rock for rock's sake and paying attention to concise songs and new soundscapes (well the story also goes that Page had other things to deal with and Jones bought himself a new state-of-the-art synthesizer). And Like Chrome does just that.
Like Ratmaus I also heard the same traces of Triggerman and Ratcatcher. Btw I heard Ocean House Studios has imported water, so…
Yes a big shout out to Tomas is due. He drives and carries that NOX suite wonderfully. For me he's already not the new drummer anymore. He is the drummer in Motorpsycho.
I didn't expect them to come back to those TDDU vibes and styles anytime soon, but that's what they did. Also quite some Folk Flest in there, too. Especially the first CATS.
Hmmmmm they never stroke me as more as an indie guitar rock band. A fine one, but…. I would prefer Dirty Sound Magnet in this genre
What I like especially about Ouroboros is how it's all intricate and mad and complex but the most impact comes from the most simple guitar hook starting at 3:50. Not because it's simple, but because it's back to simple after all the freaking out. It wouldn't have this impact without the previous freaky stuff resolving itself into it, and it wouldn't have it if the song would start right there like that. This is so supercleverly tastily done.
The short lick from 2:31 to 2:37, well… it's a big stretch but it's quite Young Gods-ey. They often throw in something very similar in many songs as a sample. Can it be that MP know and like Switzerland's best band? 8O But it's also a lick styling that's been used many many times and the Young Gods are no strangers to using classic hooks and riffs by deep knowledge of music history… So it might just have come to both from the same pool.
yay spotify! give the band 0.0001 cent!
yes 8O
this late in the song (or the album) I'm probably too out to notice. but now I checked right in with a mouseclick and behold! there it is!
@johnny
haha, yes! probably due to the orginally intended spring release.
