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@punj : I guess the IG comment is correct as it must have been posted by Bent, today âœŒï¸ But any reports from the gig would be nice!
Didn’t know about the Om riff before your link, sounds great! Lucky you who will see this tour, amazing setlists. The Other Fool seems to be a standard for this tour – interesting. A forgotten gem IMO, will be nice to hear how it develops during the tour.
Motorpsychedelic Clips : Bring it on! You’re doing great work! Can’t wait to keep up w everything. 2019 is indeed another good MP-year, and it’s just starting ✨
@Punj – This just out on MPs IG:
oh, and for all those out there who are into the statitics of it all:
t-man, other fool > om riff > alchemyst, stardust, the C,
greener, p-tzar > hogwash
> bartok, lux // the T
This makes me so happy! Great footage. Finally Stardust, what a gem, and bedroom eyes. Wow. Hoping for more than just one note of The Crucible! But thanks! Lucky people who were there. Looking forward for more goodies ahead ðŸ™
And Punj, thanks for the reply, I’m abs *not* aware of all their references (and yes they abs referenced stuff before LTEC) – they’ve always been standing on the shoulders of giants and contemporaries. And they’ve always made it their own. Since the very start. I guess I’m just not a fan of a lot of what they’ve been referencing and exploring the last decade(!) but I still feel it, feel them, feel Bent! and Snah! and now Thomas!, feel an urgency, feel their exploration, even if it’s changed. This is what makes them unique (unlike Yes as you explain them): there’s no laurels in sight! Only exploration, and I guess we all drop in and out, according to our inclinations, but there’s always *something* there.
@Kid A
Haven’t caught up w this thread before now, but, man, you’re telling my own story with MP much more eloquent then I could myself. Spot on. I’m with you on just about everything. And yes, that moment after IALC, after the “pop†records – GEB leaving – the heart of MP in many ways (sorry Bent!) – and after the last record, yes, it really was a crush. It’s good they soldiered on. And I think, as you point out, it’s important to read this in the context of the time, of our commitment to this band, the three piece, the triangle, of the expectations of each record, and of their releases up to that point, and their significance. After that I really feel it was a different time. And, yes (my username being a testament) I also returned to this forum after the Tower. My old account I left in, hm, 2009. The Tower is really an echo of everything I loved, with a new patina.
And even though I’m somewhat on the fence about the Crucible, I’m sure we’re in for some great new things.
Let the good times roll indeed!
And – yes – those heavy psych-pop shows from the early 00s, with an at that time mature MP, I guess captured on various YouTube videos: just amazing, and a somewhat nice final sortie for what had been.
Wow, man, thanks, that was MORE than I asked for!
Its so impressive you were able to take all this in, their entire discography, in such a short time! You deserve a medal! And you’re so spot on regarding their process, and their “verdensanskuelse†I guess we would call it in Norwegian, this World View, Weltanschauung. And how this translates into those moments of true MP–BLISS! Which I’ve had my share off over the years. Since I’m a Trondheim native (though long since emigrated) I literally grew up with these guys in my neighbourhood, and saw them many times at Samfunnet and Veita and Svartlamon, and even Tussler at various small and even smaller locations. I think those years were somewhat magical, also because MP were really a part of the zeitgeist, they were relevant, they were ever-evolving, they were so inspired, focused, ambitious and possessed, and again: They were a *part* of culture, they were young but at the same time so old, there was some alchemy there that is hard to describe. With Deathprod, with those ever changing songs, like Plan#1, that feels as natural as the tide, it builds and falls apart, builds and falls apart, I used to think that this was the real essence of Motorpsycho, the way they could manipulate noise, master it, make it ebb and flow, and within this structure, within this chaos, be able to let theses beautiful melodies thrive and breathe. That they sung about feelings, and ice-skating, and girls, and dogs in space. No irony, no nostalgia, just pure nowness, freshness. I still think many of those songs sound so fresh, as if they were channeled to the band, and not over-elaborated. Again, possessed. My memories of walking around the parks listening to Trust Us the summer of 98 is one of my fondest memories. Even back then people were afraid: How can they TOP Angels & Daemons? How can they top Un Chien, Starmelt, PP&PP? Then came the first single, Ozone, and Bent said something in an interview about this being their new sound, and fuck, we were so worried. Then came the record, and of course it was great. I think their trajectory is really intertwined with my own, as they made the biggest impact when they were most desperate and everything was at stake, as they were throughout the 90s. And thats how it feels being a youth, so for me it all gelled so perfectly well. And theres something about albums when you’re young, they become markers of time, and important, and I guess thats also a contributing factor to why I’ve felt that the later stuff just comes out almost too frequent, with too much of the same. Not that thats a bad thing: Its a good thing, but sometimes a frustratingly good thing.
Anyway.
I couldn’t at all understand why they wanted to do pop albums, as we all knew that within all their songs were the sweetest pop-songs. Of course, the records that came out were also great, but also sad, because it sort of ended this magical unforced period of what must have felt like pure FLOW. Then came all the winks and nods and references to the 70s, which I think started in LTEC. A lot of it is great, but sometimes too many references (to the wrong stuff) IMO. Too nostalgic. I don’t know. (The irony being, I guess, that *I’m* so nostalgic myself, when it comes to MP, hehe.) BUT – and this I must be clear about: I really don’t wanna come across as negative in any way shape or form, so (mis-)understand me right: MP knows best themselves whats right, they’ve been self-described sonic scientists since the early 90s, and they’re still out there, exploring, which is GREAT.
Anyway, I think I moved on after early 2000s, as in: I moved on from MP being so dominant in my own soundtrack, but I’m still so curious about what there’re doing, about how they’ll change, develop, expand, etc etc. Its a pleasure to be a part of this *thing*! I still spin every new album a lot, and try to catch them whenever they’re in town. Live they’re just amazing. And as I’ve said countless times before, these days I think I appreciate their “unofficial†output the most, like TDDU (which I LOVE), Konsert for folk flest (which I like), and Begynnelser (which I adore). Looking forward to this summer! As for their “official†output, I find a lot of the music very impressive, though often a bit too intellectual/ technical, and that a lot of nerve gets lost on the way, with the polyphonic vocals and whatnot. But, from reading all you guys, I really understand that this whole genre, PROG, which I’ve really never had the stomach for, is what they’re about these days, or this last, eh, decade, so no wonder I’m struggling with a lot of this stuff. And the west coast pop-stuff, hm. But the great thing is that theres something for everyone, and MP are cooking up this new brew, which never fails to make me dizzy, in one way or the other.
And again, Punj, great to read your post!! Thanks for taking the time! Sail on!
Slightly off topic, but, Punj, I *really* appreciate your devotion, and I have a question I’ve been wondering a lot: How do someone who discovers MP in 2017/19 navigate in their massive backlog of albums? This level of quality is almost unprecedented IMO. Where do you start? I think I’ve asked this as an open question before without any answers(?) so I’m asking you specifically since you’re the only new guy on this forum as far as I know, and as you’re so eloquent about everything. I think I would just about give up by reading their Wikipedia. Or feel intimidated. As you say, 57 min pr record, that’s about more than a whole day of songs(?)! Where did you start? When did you go back to the 90s? I remember you writing about finding it hard to make Blissard open itself. What about TM? Or TU? Or DB? The records we oldtimers consider their canon. Or their “pop-period†LTEC–IALC? I guess the Kenneth albums must have hooked you. What do you consider their “best periodâ€? Which ones stand out? I’m asking cause I so often find myself disappointed about the direction of their records since 2008, and I get so tired of myself comparing them to the 90s. Maybe I’m fading out as a fan. But that’s OK, and natural. But yes, as a “newbie†how do you relate to this whole thing? How do you read the latest MP decade compared to the two previous? Just post a link if you’ve answered this before✌ï¸
Oh man, I was about to write a bit harsher review, talking about the feeling of being spoilt, of how getting the coolest baddest thing every year somehow devalues everything. The need for chapters. That I wish for some air in space, something not so in heavy riff epic maestro RETRO rock band land(!) but I realize you guys are correct, like always, and that it’s just not possible: as space is a vacuum, and as MP is by now a genre unto themselves. Which I LOVE. But I do sometimes wish they’d hunt and KILL some dinosaurs again, instead of always just petting and playing with them. Begynnelser was IMO contemporary, an album I can live and breathe within, it has air, but, and that’s important: Begynnelser is not an official release, and it’s a beautiful freaky little outgrown EP, and it’s definitely not in space, but in the heavy forests of Nord-Trøndelag, where there’s plenty of moist air and soil to make stuff grow. So it’s an anomaly. I guess I’m looking forward to the next anomaly! Because when they leave the starship enterprise they make a mesmerizing emotional mess, which I love.
But until then! (Had to get it off my chest!)
I DO love the Crucible! Psychotzar is everything I want from MP going to Sabbaths old hangout. Best song IMO. Lux is not my cup of tea, but I do like it, though it somehow has too much intention and self-awareness and “importance†to really fly. For me. Lacuna (same vein?) flew. But it’s of course great by any standards, but now I’m talking about MP-standards. The Crucible song has still not opened itself, but I’m sure it will. All in all a really really great album, great playing (Thomas!), well-crafted, everything you’d expect.
Man we’re spoilt.
But best single album? Wow. Perhaps?! That’s a nice observation. I don’t agree, because I do consider Blissard a single album, and I do LOVE AADAP (or was that a single album, or a triple EP, or double LP?
but apart from those *masterpieces* I guess I agree!Can’t wait to hear this material live, and can’t believe I missed UFFA, oh well. In another 50 years!
I haven’t heard it yet (apart from Psychotzar – killer! The initial riff! That last RIFF!), but from what I’m reading I’m pretty sure this will end up as my favorite MP record of the last, uh, 20 years. Just saying!âœŒï¸ Love when they’re on an emotive trip in space, the long expanding songs. And this is the entire record this time. Can’t wait!
Psychotzar sounds great! Wasn’t sure in the first couple of listenings, been a long time since I tapped into MP now, my mind somewhere else, but wow, heavy stuff, the sound and riffing takes me back to the early days. That last climbing riff, omg. Read Bents memo, he seems uncharacteristically humble, but this sounds very good in my ears. Also can’t wait to hear the “definitive†version of Lux, and the other song, and Lars’s contribution. Expecting a nice heavy shortish affair. And the news of new material, great, as MP is known for working in triplets I guess we’ll get the last chapter of the Tower triology, should be good. I hope it entails some acoustic moments as well, not California based, but straight outta Snåsa. We’ll see, but it all seems very healthy in the psychoverse, and I’m very happy.
And, love the gong! The cowbell or whatever it is, not so much. Or the processed vocals or whatever it is that makes them sound so… filtered. Can’t have it all!
Wow. So a new «record» or chapter in the Gullvåg collaboration already this summer! Wow. We’re spoiled. Must be something along the lines of En Konsert for Folk Flest I guess. A specific ordered piece by the festival, and a very nice vinyl box featuring the art I’m sure. Two records in one year, MP are too much.
This will be good. YouTube link wonderful and in great quality. Already enjoying Maja Ratkje, too bad the electricity is out in my block, hope it comes back so I can fire up the batteries before MP hits the stage.. 😬 And hope some tech wizard out there can capture the entire thing and add it to YouTube permanently 🤞
@marc: NO. You misunderstood. If you read the start of the thread, I was only speculating if MP somehow knew about this reference. If it was a comment (which I doubt) or a coincidence (which I believe). Nothing big.
And yes, otherdemon, word, and RFAD is indeed harrowing.
And Punj: ✊
A classic indeed 👌 What a heart-melting melody. How they do it again and again I don’t know. Sorcery?
And Marc, Johnny, Punj, I agree on your takes. It will be exciting to get this record. And I believe the Utøya connection is a wild stretch, although it was a thing here in Norway, this freaks music taste and everything, in all the papers, in the court case, that he used certain songs to “motivate†himself. Dark. “His†Lux Aeterna was not the 2001 one though, but from the soundtrack of “Requiem for a Dreamâ€. Not sure if it’s the same one. Anyway. I was uncertain if I should point this fact out, as I sort of doubt MP would comment on such a thing, in this way. But who knows. We’re in for a dark record though, I’m pretty sure. And a good one, I’m very sure, after this first sample.
