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oh and nice addition of song playing credits and guitar tunings! And the light that's being shed on Morten's doings.
for gear yadda yadda it would have been nice to know what guitars they used.
I love Blissard 3!
It does sound less poignant and reading the liner notes while listening to it does point out its shortcomings. Though I wonder what I'd have thought of it if without these provided insights. But i like the sound a lot! It's fatter, gnarlier, crunchier than the final one. Some songs like Sinful and Drug Thing are amazing here. Wild and loose and noisy. I immediately prefer these to the known ones. The Nerve Tattoo I find weaker here.
Funny is: I've been reading Tommy's notes (liking the Cure comparisons, because I'd never thought of Blissard having anything in common with their Pornography album) about how the final and known album breaks and shifts half way through from a straightforward hard pop into a wtf album while listening to CD 3. So this one therefore feels even more broken to me now due to its not yet accustomed sequencing. It was a great first listening adventure and it pushes my feelings towards this record way back up (again). It's not been one of my faves until today because of this break in the middle and the last 2 songs. It always felt unfinished and rushed. But now I feel as if I only start to understand it.
I'm glad though that they omitted The Matter With Her back then, it is the one solely weak song of the lot, apart from it's great ending and blending to s'Numbness. The latter is even more majestic here and some great underlying weird sounds (Helge?) that sadly have gone in the final mix.
Like Always comes odd and sub par, too at first, knowing the 2 great songs that came out of it. But it surely is more than only presentable here in this form. Stalemate is hm… an attempt to be intense and epic, which worked better on other songs. I can understand their struggle with this one. The best version I find the live one from 2002.
:::
When The World Sleeps spinning now. Hm, not so overwhelming. Nice collection of gloomscapes but too introverted for me. Mad Sun is always a winner, though. Especially thanks to its roomy production.
actually i find it basically very odd to critizise the motorpsycho/stickman/rune business model. 8O it's rather the best i can imagine. it's honest and transparent and products and money pretty much run through short and obvious channels.
Quote:KÃ¥re Vestrheim had some kind of wizard hatyes, funny and shame he was quite hidden behind Stale's set up at the opera. So was he more visible this time?
I'm much more reluctant with my demands as a fan. But I feel Moonchild is a collectionist and completionist and would buy everything, even for a steep price, if it's packaged and presented well and worth the money. That's very ok to me.
But since this Blissard is a bargain deal, I wouldn't argue like that or be so upset about it. I own the old vinyl and CD (what for? my choice!) and if there's about ten unheard songs on this edition and some nice booklet with interesting liner notes as in the TM 4CD edition for 25euros, that'd be a ridiculous steal and I'm a satisfied customer.
So they could do some archive release series. Vol I covering 1990 to 1993 and so on, without including the previously and properly released songs then. Like a "Studio Scrapwork" series. Thing is, how much material would there really have been left over to justify these releases ? Would I want lots of muddy and unfinished 4-track jams with half baked lyrics? Their proudly released finished music made me a fan so why would I want that? It'd feel somewhat necrophilic. I rather see the point of repackaged timepieces like these 4CD editions. Imagine being the artist looking back on your precious records, you now present the different development states the material went through up to (and therefore including) the end product. Makes perfect sense to me.
I find it difficult to put demands on the band, because the industry works like this and they're supposed to be a kind of band like that. Who's anyone to tell anyone what to do? I remember the debate when Child of the Future was released on vinyl only and how fans felt cheated or overlooked by the band. Very weird to me. MP don't need to fight an idealistic war against some industry enemy entity for the indie fan's sake. They're not U2 and still have their lives and their families to care about and need to make money and maybe don't want to tour all that much anymore (ok, they never really did, though) or work on and release a record every year. "Cashing in" is quite the inappropiate term. And I don't know how much work Dylan or NY put personally in their archive releases themselves in what amount of time. I guess they have heaps of people working it out for them.
well they can only release what's there to be released. as long as it's labelled properly (so you know what you're getting), it's ok and anyone's choice to buy or not.
superstooka:
Quote:btw – the domkirken concert is still on dime & on motortrades, but yes, it worth a release from the band, off course.yup i have the whole audio. i just hope they release that show on film. if it was properly filmed…?
@nomoreDaniel
i've gladly seen those empty seats. no heads blocking my view from 3rd row. :mrgreen:
yes that Cornucopia there is a godperformance from all 3, and I understand what you mean and think you wish for something that doesn't belong to the Unicorn. Snah also sings Heartattac Mac, Coventry Boy and Proteus. A huge range in tone, no Grohl or Zack could do that. And the one who could top it, Mike Patton, would top it by overdoing it way too much. TDDU is meant to be sung the way they sing and sung it. There must not be any stereotype alternative rock shouting there. It would ruin it.
yes thanks I was just watching that. It's sooo brilliant. They can't not release this. I think I hear snippets of "Sharks" there.
speaking of Grohl and what rockmusic is supposed to be about, he made a movie which i'm looking forward to:
