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Interesting. I agree, I don’t think the RG/MP records have been super inspiring in the art department, lack of individuality. I thought it perhaps had to do w MP not really fitting into RGs pretty strict ECM-ish aesthetic. Oh well, it is how it is. Would love to hear/read Snahs comments, though I don’t have the Brekkstad thingie. But it makes sense, perhaps commissioning artists to do the artwork and having a simple/ordinary typography is their resolve, though I’m not sure this is the right way. Hm, we’ll see.
Agree with you all, and def waiting for more new stuff, and no way man, no yawning at MP concerts. After the last one I thought I had finally developed tinnitus, so any yawning would be to equalize the pressure in my sinuses and brain 😅
On another note I think it’s a shame they seem to have left Kim Hiorthøy for good, I thought it was just an exception w the Gullvåg trilology as those records (obviously) used other artwork and deferred from the Rune Gramofon and MP formula. But MP seem to have a different sub-label of sorts on RG, instead of the normal old RCD they are filed as MPCD. Maybe this facilitates a different design, who knows. Anyway. I noticed that they also use the same designer for the Trondheim reissues (Maiden Voyage etc), so I guess it’s a new alliance. I just find this approach more standard or something. More like products, less inspiring. I don’t know, just me nerding out in the pandemic isolation. This might not be the right thread for all of this, just had to vent.
Peace out and sail on as we wait for Kingdom come! ✌ï¸
My issue today is that I just purchased the Blissard box-set (triggered by the recent Bernie vids, and which used to be on Spotify, but was at some point removed – fine) but I remember this as an abs fantastic collection, both the first Stockholm (Pidah?) mix, but also cd 4, with all the demos, outtakes and the jazzy stuff someone mentioned in another thread. A heartbreaker of a record. But, back to my issue, I don’t have a computer w a CD-drive, so I’m a bit confused as how to listen to this on my phone (yes my disc-man is long gone, phew). What do you guys do? A visit to Teknisk Museum? Hm. All suggestions are welcome! â¤ï¸
@TraktorBass @Be – I agree. I think it has finally! (lol) sunk in for me that they are not esp interested in exploring those landscapes anymore. Which is fine, there's a time for everything, they had an exceptional good run, and perhaps those songs and landscapes are more a product of youth. I don't know. I’ve written this before. But now it's apparently time (not to skate) but to sail around in the Milky Way. I think perhaps BHBC and COTF was a wrap-up of sorts, a bookend.
But – I do feel like they've been venturing around and exploring this particular part of the Universe for quite some time now, prog-heaven, also Californian CSN-terrirtory, to many peoples excitement I’ve understood, but maybe not to mine. I’m more of a heavy-rock/indie/lofi “kidâ€. I just hope they land somewhere new(!) soon, not necessary more "accessible", but just somewhere new, for egoistic reasons. Some new exploration. Jazz or folk or acoustic or drone, or a combo: please! Or something I can’t think about: It would just feel so *good* and *refreshing* to finally feel again. Feel them again. And not in the Lux Aerterna way, but in the less disciplined way. Perhaps w the Kingdom of Oblivion, though the reviews gives me the vibe of more of the same. Which is fine, I just don't spin the recent 10 records so often. I don't want to complain, it's just how it is. For me. I might just stop hoping, but I will never do, MP means a lot to me, still do, the concerts are still great, but man, the last time I saw them and they played Manmower, I was reminded of the insane power of those songs. Which they still channel. I just want more, lol.
And yes, excited to hear what they've got for us this time. I will never stop listening, appreciating, but also hoping, for more BLISS :STG:
Wow, these are just Great. Thanks Bernie 💯 Feels so good to feel again âœŒï¸ I dont miss the 90s or 00s but when it comes to MP, wtf, those were the days, a crystal. Thanks.
@suntripper Please, leave it. This is not the right forum. Thanks.
A weird package imo. But I guess it’s supporting the scene? Pretty steep price though. The Maiden Voyage is a great little thing, almost summing up their career upfront, but in a bundle with all the other reissues with these bands, not interested. It almost seems like a plot by some record executive to get people to buy these other records, only wanting Motorpsycho. Hook line and sinker, capitalist strategies. But, Seriously – hi Phil Collins – and I’m only speaking for myself, maybe there’s diehard Sanderfinger and Funny Farm fans out there, if so, happy them! Have a trip.
If it was new bands on the Trondheim scene, and MV was a curiosity item, like the Sub Pop Singles Club (sorry for the very 80s reference) it would make sense. The Sanderfinger record is at best a curiosity due to the MP link, but it’s not really a great album imo, to say it gently. Sorry the negativity, but I was a bit disappointed – I wish MP could have treated this reissue as an official release, with the same care as the other rereleases, with additional outtakes and in a bundle with Lobotomizer and the other pre-DB records. It would have made more sense.
Anyway, maybe it’s supporting some old Trondheim rockers, and that’s a cause in itself? Dunno. Count me out this time. But bring on the Trust Us box-set and I’ll be forever happy ✌ï¸Just don’t bundle it with Tre SmÃ¥ Kinesere or that other record by Sanderfinger 🤞
Haha yes very energetic, lol. Nice interview, lovely loopy space cadet HMR! Saw him recently at De Utvalgte’s show (the same theater group they did Begynnelser with) at Black Box teater in Oslo, last show tomorrow. Very nice, Snah doing a soundscape with his guitar and some effectboxes inside a glass box. Mmm!
@Punj – Yes, Bent goes into the Joni references in PPP and its background in this podcast (https://pod.space/lagemusikk/episode-37-bent-saether) though it's in Norwegian
When google starts translating podcasts you should have a listen!
@psychonaut – I agree! I remember LLM feeling like a real departure, both in terms of the music, the first album with KK, the suite, and as the first record on Rune Grammofon. I wonder if this is the very transition point Bent is talking about in the interview; when MP went from a “career in rock†to an ongoing art project with the records more as “proof of process“ than products. Good and bad imo, good in the way it’s given us so much music, and so many great side projects, bad in the way that this approach maybe results in a certain work method where song-sketches are fleshed out in practice, which makes them a bit formulaic (or that they settle in a certain groove or vocal melody), whereas before I got the impression Bent or Snah would present a 90% finished song, and the band would “finish it offâ€. This might also explain why I find it hard to tell a lot of the Rune records apart (the artwork doesn’t help), whereas the older ones has more distinct identities. I get that they were tired of writing all these songs though, that it felt a bit like a “hekkeløp†in the end (quote Snah after BHBC if I remember right, which actually does feel a bit like hurdle racing, though a great one;–), and the new approach was a necessity in order to survive. Backed up by Rune they could finally allow themselves to be an all out experimental band on an art label, and work as such. Which was great at that point in the career.
So yes, I agree w Psychnaut over here that there is an interesting mirroring between TAIO and LLM, and perhaps some clues to both my love for this latest decade of MP records, and also my problems with it.
I might have to adjust my initial reaction a tee bit. I was *overwhelmed* by N.O.X., and I share all the sentiments shared by everyone in here. Mindblowingly good! As for the other songs I was so happy about the mix of soft and hard. Though through further listens, and some rounds w the Tower, I think the “shorter†tracks stand out more on the Tower. Just a song like In Every Dream Home, a classic. Ship of Fools! I miss some of that exploration on this one. Some of the later “rockers†have been a bit formulaic. And I miss one of Snahs heavy and mournful and beautiful songs (On My Pillow! Upstairs–Downstairs! Before the Flood! Year Zero! A Pacific Sonata!) But we’ll get that next time around, or on the one after that, I like that the Snah gems are spread out, and that they’re worth waiting for. The heavy emotional heart of MP imo.
(I’ve also been playing BH/BC a lot lately, always nice to dive back in the catalogue when a new album arrives, and what a record. The last great collection of “songsâ€. Feels a bit like they were cleaning up the house after Geb, and the final album of that 90s 00s period. Brings back memories!)
As for the lyrics, I agree, The All is One song is a bit cringy. I find Bents lyrics better when they’re more poetic and obscure. STG tells me more about life and politics than Politician(!) or The All is One, but hey, sometimes you want to be direct! I guess Bent got something to say ;—)
All in all it’s a good record – a great one! – and I love trajectory of the latest output. Working in trilogies has always been a good concept for MP, though I *do miss* the EPs and leftovers, odds and sods. The Dowser and Like Chrome would have been such material. But why complain, it’s another great(!) record, and they’re back in great shape since Thomas joined: he’s a subtle and heavy and (amazingly) melodic counterpoint in this geometric triangle that is Motorpsycho, and perfectly fits and balances Bent and Snah, much like Geb did. And like some reviewer wrote, we won’t get another Timothys or Trust Us, but that’s ok, we have those records, and the new stuff is something else, and I love where it’s going. Now looking forward to some live shows!
