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That tickles me in the right spot having just been to Greece this very month. A synchronicity closer to the heart!
I would've paid that. 8O Some things come once in a lifetime. But I'll have do with the Before The Dawn live album. "Waking The Witch" is jawdropping.
Despite the tragedy around that '79 tour, the show was fantastic, at least telling by the video recordings. "James And The Cold Gun", woah! especially the second half of it: https://www.youtube.com/watch?v=1a7ZDtpWyCo&ab_channel=arosegrowingold
I understand that. 80s super gated drums are weird nowadays. But I got somehow reused to it, or learned to hear past it, or appreciate it, whatever… I take it as a part of the sound design and a good song is still a good song. There would also be Kate's first two records from the late 70s which feature the all "natural" unprocessed sounds of a band playing out.
Fun fact: on this one https://www.youtube.com/watch?v=xEVMfG8z490&ab_channel=kristo68 from The Dreaming album she had Jimmy Bain play the bass because she needed a rock bassist. And that guy was playing in Rainbow on the album "Rising" a couple of years prior, which – as legend has it – was loved by Bent and Snah and got them together to start our favourite band. Or something like that.
So there's the connection to bring this little detour back to Motorpsychedelism.
I don't know any writer but I'd love to get an in depth writing about Timothy's Monster and/or The DD Unicorn…
One more about the female singing: I'm also huge fan of Blondie, Siouxsie & The Banshees and the goddess Kate Bush. I've always known but only recently really rediscovered her super innovative 80s albums Never For Ever, The Dreaming and Hounds Of Love (also those videos! Check Cloudbusting, Breathing or Experiment IV for example) and she's still spot on with her latest two Aerial and 50 Words For Snow.
Excarnar: I might disappoint with my answer, but I really enjoy almost each direction the band takes with every album.
And by that I don't mean I'm one of those who take everything their favourite band does as pure gold and glorifies it, I simply think that most of the things they do, they really do them good.
Right! Simple as that. Country or Rock, heavy or whimsical, when they decide to do something, they go full on.
Johnny Heartfield: No more fuckin' "Feedtime" in the middle of the set!
Heretic! Feedtime! Bamm! All heavy hardcore alt-nu-whatever-metal 90s bands killed in one song! I've waited 25 years to finally hear that one live!
Great post-Geb songs, hmmm… lemme think…. (while being distracted by the question if all during-Geb songs were brilliant)… ah, there's about nine albums full of them. HBM is the only album I'm not getting into, except for IMS and BBD. And HBM vol 2 is fantastic.
I love BH/BC and I don't get the sound issue some are having with it. I listened more to the CD than to the vinyl, for lazy convenience, maybe the vinyl doesn't sound good? I don't know. There's maybe 2 songs on it that don't floor me. In Our Tree, KDH, Hyena, The Ace, losts of fast'n'focused songs on it.
One thought about that "90s sonic magic": since then the playing chops have evolved, naturally. The lack of theese back then probably made them rely on moods, ambience, sheer volume and attitude, trusting something magical will come of it. And how it did! But at some stage in your playing life you learn more and other things and get a bit tired of your old formula. You could always fall back on it, but how exciting would that be? Strumming a few strange chords, getting louder and louder, and the like. They could easily still do that, but as a composer at some point you've been there, done that, and by trying to go there again you might only fake it. It wouldn't feel right. I imagine if they want to go back there, they simply play those golden numbers on tour. Because they are fantastic and are there and ready to play and live through every year on a stage with lights and sound and the vibe.
Quote:marc – What i always loved most about the band was that special Snah-kind of guitar playing on the verge between riffing and strumming, which leaves Bent just enough space to add melody, harmonic shifts or sheer sonic force.that certain sound in Kill Some Day, Plan #1, Starmelt and the like? Yup that's what got me hooked originally. This sonic magic, half buried in, half shining because of underproduction. The recordings weren't hammering your face with cinemascopic 90s alternative rock mixing. There was always stuff to discover on the 56th listen. But what if they had not evolved at all in 20 years? I don't think I'd like their music as much as I do. The excitement of the new and unexpected. It's all about their influences and tastes which are too multidimensional to keep repeating one formula.
I do wonder how people reacted to Timothy's Monster who got into them way later on, be that with Love Cult or HMF for example… It's a funny thing with that one. It's very lo-fi, the mixing is quite unconventional, and although Trust Us or The Tower do sound better from a common viewpoint, everytime I listen to it I think it sounds perfect and huge and intimate and should be the industry standard to aspire to. Though of course creatively there should never be such a thing.
And on a side note, this being a somewhat nostalgic thread, I'd like to point out that to me Kenneth is/was AWESOME and was a blessing for the band!
I don't miss anything because it's all there to listen to, and hey, there's A Boxful Of Demons, too. Would a Sheer Profoundity type song written and played in 2018 top the old one? That was young fervour and attitude. Now they have old class and attitude. Their heavyness nowadays is different as 50 year old rockers and it shows in Through The Veil (oh I WOULD love them to do a Unicorn sequel!) or not so obviously in The Promise or Ship Of Fools. Intricate heavyness with an ear for detail and no desire to repeat the olde days. AC/DC this is not. And seeing them live since '95 I'd even say nowadays they're heavier than ever. It's just the playing and writing that have become more sophisticated. So you probably miss some sort of primitive ooomph, which I can totally relate to. But as said, there's the old records to go back to. And not too few, luckily. I did miss a bit what you seem to be missing now during the Cake/Lovecult phase (then again, the 2002 Norsemen DVD is massive as fuck), but ohmygod that's already a lifetime ago anyway.
