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Make loud not war, was used by MP in the recent past. It’s written somewhere on the album sleeves of Tower and Crucible, I think? Correct me, if I’m wrong
The band thanks for the great reception of the album on Instagram:
Thank You All for the great response to The Crucible!
Fans, friends and critics alike – you have all showered your love upon this preposterous rock hallucination, and in doing so yet again given us carte blanche to go even further next time. Thanks for the understanding, the trust, and for bestowing the role of ‘music makers and dreamers of dreams’ on us. It is not a burden borne lightly, but one we carry with the deepest reverence and treat with the greatest pride and respect.
thank you, love to all, rock on! ðŸ™ðŸ» â¤ï¸ðŸ¤˜ðŸ»
@tomasjarmyr @onkelfuzzbass #snah #motorpsycho #thecrucible #werocksoyoudonthaveto #rock #hardrock #stonerrock #metal #jazz #jazzrock #prog #punk #ra..not,notreallyrap,sorry —
thank you #håkongullvåg @thiswaydesign #deathprod @theschepards @ketilnico @lacktr #tos @mortenfagervik @marsvin @jahawata @runegrammofon @stickmanrecords @stickfrau #makeloudnotwar
I can relate to a lot of what Bartok is saying. Being grown up in a German smalltown, Motorpsycho was not as near as to a Trondheimian, but closer than all the US bands dominating the scene.
Interestingly, I still can remember the very first time I ever stumbled upon their name: it was a review of Demon Box in a German metal magazine called RockHard. The review was quite good and I still know, that I was fascinated by the strange cover in combination with the album title. But… I wouldn´t hear the record for the next couple of years. It took till the release of Timothy´s Monster till they reappeared. It was a summer full of acid and adolescent dreams. The world flew by like Watersound and it will forever be connected to the sound of Timothy, Sgt. Pepper and early Pink Floyd stuff.
The 90´s were full of creative sound exploration, so Motorpsycho were at that moment just one among many for me. They were records like Blur´s magnificent 13, Radiohead´s genre expanding OK Computer and if you were more into rock stuff, bands like Monster Magnet or Dinosaur Jr.
I went back to Blissard and Demon Box, the first becoming one of my all-time favourites, but DB was too metal for my taste. It was a bit like what Punj said about this one, it took till the re-release of the full vinyl version, to really understand this one.
AADAP went into heavy-rotation and this was also the year I first saw them live, 5th November 1997 Odeon, Münster, support by Loose. From this day on I was blown away and for a long time, they went no year without seeing them live for at least one time.
Thew release of LTEC was the first time I was irritated, like many others :wink: , but I came to like the record, same as Barracuda and Phano.
But studio-wise the magic was gone. Interestingly, this was the time with some of the best live gigs, cause they mixed the psycho-pop atmosphere of the recent releases with the sheer power of Traktor Bass.
Then came IALC and then it really went downways. Maybe it´s difficult to understand for someone who discovered the band in later years. Forget for one moment the back catalogue of the last 15 years and watch the band, whre they stood at the time of IALC. The incredible 90s releases behind, getting weaker from album to album (and IALC is the weakest by far in their whole catalogue IMO), having reached the age, when most bands start to fall apart… and then Geb left.
Geb was at this time as important for the whole project as Bent and Snah are still today. The impact was as catastrophal as if today, Snah would leave. The band couldn´t exist anymore.
A different drummer was just unthinkable.
I talked to Geb just some weeks later at a HGH gig and I´m sure he knew that.
This band definitly went Neverland.
From this time on I lost interest. I saw them live again with this interim drummer, whose name I forgot – it didn´t work. I bought the new albums, and I liked LLM, but stopped going to concerts. I went to Köln on the HMF gig and was underhelmed.
Then I even skipped an album for the first time, Still Life.
The first time I saw the boys again was the DDU tour at Schlachthof, Bremen.
The concept idea behind this seemed interesting, so I went and it was fantastic.
So, there was hope maybe? BTS and HBM were okay as albums, but no live gigs still.
And then, came The Tower. And there it was, the magic, the excitement. Not as wild and windborne as in the 90s, but with a grown up love for a very ripe and rich wine.
The Schlachthof gig with a wall of sound I haven´t felt for 15 years.
So, here we are today, back to source, I´m even reading the forum again (I originally joined sometime at the beginning of the 00´s) and I´m excited as a child for the Schlachthof gig in September.
Let the good times roll!
Really, punj, if music journalism had a bit of your passion, all the magazines wouldn’t get broke. Sail on!
@fillmore: two fantastic news in just 1 paragraph. I’m so excited, what comes next, it seems the boys are exploding with creativity right now, and I really like the direction they’re moving. Wow!
After some more spins and streams, it´s time to reflect again on the record. It definitely grew in some regards, and it´s remarkable, that an piece like The Crucible can cause earworms :wink:
When I reflect my first impressions and opinion here in the forum, I realize what happened: MP did a fair share of pieces that stretched much too long with no real direction and much to much uninspired noodling, Gullible´s Travail is a good example.
And the track The Crucible seemed to do the same, so I automatically shied away from it. But after some listenings I have to say, that the quality is much more higher, there´s a reoccuring theme, that guides us through the track and each part has a reason and works for the greater good of the whole piece. Brilliant. Love album, will listen
Black 2 Comm is back! Wow, did they play it with the middle part of Back to Source, like they used to?
@otherdemon: exactly my thoughts. And @Neil: yup, it’s mastered quite low.
I think this won’t be my favorite MP album of the canon, but it’s good. Feels very EP-ish to me
Really cool interview. Thanks for the find! What Bent says about KK and the Geb-era songs, was exactly my thought, when I saw Tomas live first. There´s the punch into the guts, that KK could never really deliver. Listened to HMF just this morning and was wondering why this album never really got me, instead of the very good songwriting. And I think the drums is the key. Listen to Starhammer live recordings from the last tour and you know what I mean
(Hey, but I LOVE KK with Spidergawd :twisted: )
@punj: don´t know what supernaut meant, but I´d agree, cause they are all people who really understand music. I mean, in the way you wrote earlier, why you love MP.They understand how it works, what Black Sabbath is about, what Prog is about, what MUSIC is about. When you listen to Scheps´ works, you hear the same devotion and love fpr what he´s doing. So, perfect match.
@psychonaut: "Sometimes a song only really shines within the context of the whole album".
Yep. And that´s exactly the reason I won´t listen to it before the album is out.
@Johnny_Heartfield: of course it’s always difficult with superlatives. I’m not enough into Jazz to really know if it lives up to the hype, but I really don’t care about some hype one way or the other. All I know is, what the music does for me, and it’s somewhere at the upper end of my personal scale. And considering I’m a more or less „rock guy“, it’s seems to be true, what some people say, being Jazz for people who don’t listen to Jazz.I think you could say the same about Herbie Hancock, cause that’s also Jazz and I can listen to without getting headaches
