Forum Replies Created
-
Posts
-
Ahsol Caravan – love it! I don’t really understand where and when it’s from? I remember last year they were supposed to do a show with De Utvalgte (same company as Begynnelser) which was cancelled due to a storm. Could this be the music that was planned? Did Ancient Astronauts also have a connection to this?
COTF – So nice to hear it again in all its Albini glory!
I guess for me Phanerothyme has been a bit of a rediscovery, in the way that when the “pop” trilogy came out I was a bit over MP, too diehard in the 90s to really accept the change in the direction. How sad was I!? There are obviously great songs on all three albums, perhaps three on both LTEC and IALC that I really cherish (Barracuda wasn’t for me), but yes, P is 10/10 (except Cali). And, I remember when P came out, thinking it was too soft and scandi-poppy (there was a bit of a nostalgic thing going on w esp Norwegians bands in that time if I remember right). But MP being MP of course navigated these waters much more tastefully than others, obvious to everyone even back then.
Anyway, P has been a companion for some years now, maybe like some of you say; with age you search for other qualities than you did in your 20s. And for me this album is such a flower – it’s an anomaly in the MP cannon, it’s soft and pretty and homey?, but also (like always) thoughtful and pensive, and the melodies are all gems that opens up in different nuanced ways than on other efforts. It’s just different. In my ears! So this one is still a good companion for me, as I rarely go back and play old MP records on repeat.
And, I didn’t know its being (or been) reissued? Would love some demos etc! I hope they restart their anthology thing, must be so much gold left in the vaults!
And, yes Shakti, I hear you regarding the pastiche songs, not a good fit.
Wow, I’m surprised about Bent so offhandedly discarding that trilogy!? Tho he’s always said P is a good album to wash the dishes to, so maybe he has some grievances. For me it’s of course really great, and a bit unexpected, as I usually like the heavier and more proggy side of MP – esp when combined w some great tunes, which there are loads off.
I remember the excitement of LTEC as I was big psychonaut in the 90s, so I was both curious and a bit afraid of what (and why!) they were going “pop” (as they said back then). When the album came out I was a bit underwhelmed. Then Phanorethyme remedied everything. Remember Bent said around the release that it was a “pocket-symphony”, which is a good take imo. Sort of small in scale and topics, no typical MP grandiosity, but the melodies are just flowing, mesmerizing. So, I def get more kicks out of a lot of the other records, or sections of other records, but this one I can always just play on repeat, when doing dishes or driving, and it’s just wonderful.
My California issue is totally due to an unhealthy appetite for the Doors in my teens, which has later led to an almost allergic reactions to that specific band, so when MP sampled the organ build up of Light My Fire I though it was highly unnecessary!
My five cents after completely binging this record these last few days.
Know I’m mirroring what already has been said, but SOOO many GOOD tracks, so much genuine MP DNA, you hear echoes of their whole catalogue all through the record. I have said this for 30+ years: Quite amazing for a band to be this distinct, while their palette is so all over the place. And it still holds true. Cliches, and true for many bands (well, a small few), but all the same true.
In my ears we have many COMPLETE classics here, “Bed of Roses” and “Dead of Winter” being two of them, sooo good! And sort of unexpected. Everything I love about MP. The strangeness and groove of BOR and the melody and normal-but-intricate beauty of DOW (Phanerothyme vibes anyone?) Can’t WAIT to hear these live. And, what the hell “Lucifer, Bringer of Light” might also be up there, in the uppermost echelon of this huge massive mountain of MP masterpieces. How lucky we are.
I also really love “Laird of Heimly”, just so fucking good. What the hell, I’ll also put this on the MP Rushmore. Getting crowded up there!
And yes, hearing the singles in their context makes me appreciate them more. Both are really nice (tho doesn’t tickle me like the 90s hits, but who cares 40 years in, so refreshing to hear some great pop rock bangers from them again, love the video), and the transition from LOH – sweet. They know their sequencing. Like always. And these will BLAST live, esp Stanley.
Guess I’m not a super fan of boogie-rockers like “The Comeback” tho I never was, way back when this trend started w Barracuda. I call them boogie-rockers to myself (because I can’t stand boogie-rock!) tho god knows what they are. Enough w the cowbells! But this is part of my deal w MP, some hit me, some don’t.
Always a sucker for in interludes like “Kip Sadie”. Not a key track, but great for the flow of things, like Siddhartino, a nice break.
“Balthazaar” is ALSO GREAT. What the hell. Great playing, great groove, love the vocals. The organs (?) or synths are so well painted in the overall picture, this is something I can not picture them having done in their 60s appropriation period … 20 years ago. Rushmore candidate. A+
“Neotzar” might be one of the best songs of the latter day MP, where I feel it’s all coming together more succinctly than before. Insane playing. I should do more drugs.
“Three Frightened Monkeys” doesn’t catch me at the moment, but who knows. Skip for now.
In total, for me this might become the most played MP album since LLM, or Phanorthyme. I feel like there’s been a ton of MP masterpieces written the last 20 years, but I’ve lacked some mystic spirit in their album-output, some mystic pop-spirit or twisted intention. A gaze outward. For me this has it all, neatly wrapped up. Thanks guys. Perfect record, perfect title, and album art; The Sun and the Moon and everything in between. Live this will be epic!
Guys, I’ve posted a review twice but it doesn’t come up. I’ll let it rest for a day. Hopefully I’m not clogging up the thread w posts that are by some weird reason invisible to me.
My five cents after completely binging this record these last few days.
SOOO many GOOD tracks, so much genuine MP DNA, you hear echoes of their whole catalogue all through the record. I have said this for 30+ years: Quite amazing for a band to be this distinct, while their palette is so all over the place. And it still holds true. Cliches, and true for many bands (well, a small few), but all the same true.
In my ears we have many COMPLETE classics here, “Bed of Roses” and “Dead of Winter” being two of them, sooo good! Everything I love about MP. The strangeness and groove of BOR and the melody and normal-but-intricate beauty of DOW. Can’t WAIT to hear these live. And, what the hell “Lucifer, Bringer of Light” might also be up there, in the uppermost echelon of this huge massive mountain of MP masterpieces. How lucky we are.
I also really love “Laird of Heimly”, just so fucking good. What the hell, I’ll also put this on the MP Rushmore. Getting crowded up there!
And yes, hearing the singles in their context makes me appreciate them more. “Stanley” is really nice (tho not really up to the 90s hits, but still, a great pop rock banger, love the video), and the transition from LOH, sweet. They know their sequencing.
Guess I’m not a super fan of boogie-rockers like “The Comeback” tho I never was, way back when this trend started w Barracuda. I call them boogie-rockers to myself (because I can’t stand boogie-rock) tho god knows what they are. Enough w the cowbells! But this is part of my deal w MP, some hit me, some don’t.
Always a sucker for in interludes like “Kip Sadie”. Not a key track, but great for the flow of things, like Siddhartino, a nice break.
“Balthazaar” is ALSO GREAT. What the hell. Great playing, great groove, love the vocals. The organs (?) or synths are so well painted in the overall picture, this is something I can not picture them having done in their 60s appropriation period … 20 years ago. Rushmore candidate. A+
“Neotzar” might be one of the best songs of the latter day MP, where I feel it’s all coming together more succinctly than before. Insane playing. I should do more drugs.
“Three Frightened Monkeys” doesn’t catch me at the moment, but who knows. Skip for now.
In total, for me this might become the most played MP album since LLM, or Phanorthyme. I feel like there’s been a ton of MP masterpieces written the last 20 years, but I’ve lacked some mystic spirit in their album-output, some mystic pop-spirit or twisted intention. For me this has it all, neatly wrapped up. Thanks guys. Perfect record, perfect title, and album art; The Sun and the Moon and everything in between. Live this will be epic!
Some thoughts after completely binging this record all day (and I will be binging it forever). And yes, grading music is so stupid, but also so much fun. Fans are nerds, bands are nerds, so why not.
So my five cents:
SOOO many GOOD tracks, so much genuine MP DNA, you hear echoes of their whole catalogue all through the record. I have said this for 30+ years: Quite amazing for a band to be this distinct, while their palette is so all over the place. And it still holds true. Cliches, and true for many bands (well, a small few), but all the same true.
In my ears we have two (or six!) COMPLETE classics here, “Bed of Roses” and “Dead of Winter” soooo gooooood! Omg. Earworms. Everything I love about MP. The strangeness and groove of BOR and the melody and beauty of DOW. Can’t WAIT to hear these live. And, what the hell “Lucifer, Bringer of Light” might also be up there, in the uppermost echelon of this huge massive mountain of MP masterpieces. How lucky we are.
I also really love “Laird of Heimly”, just so fucking good. What the hell, I’ll also put this on the MP Rushmore. Getting crowded up there!
And yes, hearing the singles in their context makes me appreciate them more. “Stanley” is really nice (tho not really up to the 90s hits, but still, a great pop rock banger, love the video), and the transition from LOH, sweet. They know their sequencing.
Guess I’m not a super fan of rockers like “The Comeback” tho I never was, way back when this trend started w Barracuda. But this is part of the deal w MP, some hit me, some don’t.
Always a sucker for in interludes like “Kip Sadie”. Not a key track, but great all the same. As a “Begynnelser” aficionado this is great stuff, and a solid MP thread going back to way when. EPs and side projects. 100% solid stuff.
“Balthazaar” is ALSO great. What the hell. Great playing, great groove, love the vocals. The organs (?) or synths are so well painted in the overall picture, this is something I can not picture them having done … 20 years ago. Rushmore candidate. A+
“Neotzar” might be one of the best songs of the latter day MP, where I feel it’s all coming together more succinctly than before. Insane playing. I should do more drugs.
“Three Frightened Monkeys” doesn’t catch me at the moment, but who knows. Skip for now.
In total, for me this might become the most played MP album since LLM, or Phanorthyme. I feel like there’s been a ton of MP masterpieces written in the last 20 years, but I’ve lacked a cohesion in the albums; some mystic spirit, some pop-spirit, there’s no shame popping, wtf, MP were masters and monsters in the pop banger noise emo game for their first 15 years, world class. Then they ventured a bit too far and gung ho into prog for my taste, but this record really ties it all neatly together. Thanks guys. Perfect record, perfect title, and album art.
The Sun and the Moon and everything in between.
Haven’t heard it yet, and don’t want to be a bummer, but honestly I’m a bit skeptical. Feels like I’m always wanting something they’ve left behind. Miss the melodies. And the emotions. Vocals. Didn’t like Stanley, tho fine. * But * — the last time MP was only Bent and Snah was BH/BC, which coincidentally is the last one they released that I still put on and play through and thoroughly enjoy. So I’m hopeful for this one. Something is at stake. Crossing my fingers for the new chapter. And some magic. Still fun tho, and inspiring to follow this band.
For the Norwegian readers out there, the Adressa review. For you others, Chat GPT;)
Adressa is biased as always, but why not!
En ny gullalder
Snart 40 år ut i karrieren når Motorpsycho en ny formtopp, med et sprudlende og lekent dobbeltalbum.
Anmeldt av Kai Kristiansen
At Motorpsycho gir ut et selvtitulert album 36 år ut i karrieren, sier kanskje noe om hvor de er akkurat nå. De to foregående platene «Yay!» (2023) og «Neigh!!» (2024) var på mange måter en reaksjon på pandemien, samtidig som de tok noen overraskende og fine omveier. Nå gir de ut sitt tredje album uten fast trommis. Bare de to, Bent og Snah. Motorpsycho.Hva kan en si om albumet? Kanskje først og fremst at det er mye og at det vil mye. Det er ambisiøst på grensen til stormannsgalskap. Dobbel vinyl og elleve låter, flere av dem mer enn ti minutter lange. Samtidig gir de plass til den fine gitar- og melodibaserte rocken fra 30 år tilbake i tid, i det som mange betrakter som gullalderen.
Musikken er ny, men samtidig umiskjennelig . De retter blikket både innover og utover, og utforsker grensene for hva Motorpsycho er og kan være. Her er de både særere og mer tilgjengelig utadvendte enn jeg kan huske de har vært på lenge.
Å sette tonen med elleve minutter lange krautrock-inspirerte «Lucifer, Bringer Of Light», høres kanskje voldsomt ut, men når det gjøres med en slik glød som dette, er det en fryd å høre på. Bent og trommis Ingvald Vassbø groover hardt over et tema som bare går og går, med synth, mellotron og parti av strøken tostemt vokal. Men det er oppbyggingen med Snahs speisa gitarfigurer som er selve gullet her. Et perfekt anslag.
Den samme følelsen finner vi på «Balthazaar», med et farlig groove som dundrer av gårde, mens det pøses på med virkemidler.
Begge singlene som kom i forkant av plata, «Stanley (Tonight´s The Night)» og «Core Memory Corrupt», mer enn antydet et band som er lettere på labben og som tar opp igjen den melodibaserte rocken de leflet med på siste halvdel av 90-tallet. Førstnevnte en poppete fireminutter med nikk til Kiss, mens den siste kunne gått rett inn på «Trust Us» (1998) eller «Angels And Deamons At Play» (1997), med sitt åpenbare slektskap til både «Hey Jane» og «Starmelt / Lovelight». Her hører vi ekkoet av Gebhardts rocketrommer i Vassbøs eminente spill. Uansett: Begge storslagne, fengende låter som jeg gleder meg til å høre live.«The Comeback» er mer riffbasert , godt hjulpet av assosiert medlem Reine Fiske, men også her beholder de den lette, muntre tonen. Ikke minst på grunn av Olaf Olsens musikalske tromming (han og Vassbø spiller på cirka like mange låter). Litt i samme leia er avslutningslåta «Dead Of Winter», selv om den har en mer melankolsk grunnstemning. Herlig!
Og når de først tar fram hardrocken og progen, tar de den helt ut. 21 minutter lange «Neotzar (The Second Coming)» er platas langtur. Gjest Thea Grant synger en kabaret-aktig intro, før et monumentalt gitarriff tar oss. De maner fram lange stemningsmalende, til dels marerittaktige lydtepper og Pink Floyd-aktige landskap, før de går over i en 7/8-groove slik bare Motorpsycho kan. En heftig tur!Og så har vi selvsagt de rare snuttene som vokser seg fine, og som bidrar til å binde det hele sammen. Som Snahs pianoklimpring på «Kip Satie» eller Bents hese vuggevise «Bed Of Roses».
Albumet er i hovedsak spilt inn i Kjartan Kristiansens nye Amper Studio i Oslo, og er produsert av bandet selv og Helge «Deathprod» Steen, og mikset av Andrew Scheps. Det har blitt et høydepunkt og en formtopp i en allerede rikholdig katalog.Pretty sure this the Harstad exhibition, though it doesn’t mention MP… Opens 26 September
https://kunstverket.no/utstillinger/kommende-utstilling
Edit: didn’t see that @otherdemon already linked the event
