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@The Other Anders: As I am only able to attend this one show it is not really a problem for me personally if Plan#1 & Fool's Gold are finishing off several shows, but I see your point! Judging from the variety in the setlists so far on this tour, I don't imagine this to be the case though. But if it happens? It's a pretty strong finish.
Good lord what a behemoth Motorpsycho is these days! And that Thomas fella! 8O
Highlights for me: Everything from LLM onwards. And The Crucible felt really pertinent, it is a song for the times we live in, it felt significant somehow.
"there is way more substance and darkness in those records than the relatively banal and 2DÂ Trust Us-era albums that are actually pretty cartoonish in places."
Haha, that's a fairly harsh review of your own body of work, particularly as it is the era that so many keep in so high regard. Oh well, if you ever doubted MP is a living, forever evolving organism.
A little bit of possible background to this. The National Report on Wolves in Norway was made, amongst others, by NTNU (The University in Trondheim). I just noticed on the news here in Norway that the report was presented by Professor in Biology Hans Kristian Stenøien. Hmmm. Where else do we know him from? What about 'Tonight We Bloom' by Hans Stenøien & Sugarfoot? I suspect a tiny bit of nepotism here!
A great little tune it is, as well
Lol. Thinking of how MP heavily referenced Stravinsky's Rite of Spring in KoO press releases and such, have they cleverly also recreated it's rather hostile reception by a bewildered and confused audience struggling with the avantgarde?
Damn I'm out of town on the fifth. If you can't make it to see them live, any and all of their records are highly recommended.
A short clip from the woods in Fjaler
I wasn't there myself, but this appeared on the theatre festival's facebook page. That looks like quite the gig.
Those are very good points. Both this particular song and the album as a whole is quite varied, and both in a organic way that feels natural and your observations about how a lot of people write and talk about the albums as 'proggy', 'straight rocking' and so on are also spot on. Why does those initial labels stick?
The press release at Rune Grammofon may indicate an answer: 'The initial idea was to collect big riffs on one album and do a pure hard rock record' it says, and 'the main musical thrust is pretty full-on, even by Motorpsycho standards'. I guess it is easy to get coloured by that, you have an entry point to a new album, and I suppose a lot of reviewers also go to the album with that in the back of their mind, not because the are lazy or bad but just because that's how the mind works. And then the those characteriations get repeated and take on a life on their own. (Heck, I know people who still are under the impression that MP is that alternative, heavy, noisy outfit it was 1991-1993!)
As per usual with an MP album it turns out to not to be quite that easy (as in fairness Rune's press release also says), they are usually more multifaceted than that, and yet having that unmistakable and everpresent Motorpsychoness that shines through in their songwriting, arrangements and playing, and those (like most of us in this forum) who listen will discover that, and rediscover and reappreciate albums again.
Watching this guy discovering MP was quite nice though. That grin on his face!
Lol. I am afraid it is like this "data thing" in 1990 that would "go away soon". The only thing that would make the streaming platforms change practices is if the major artists forced them to. There is no way consumers in significant numbers would unite to force changes through. For 99.9% of music streamers worldwide it works just fine: All the music in the world conveniently at your fingertips for very little money.
(sorry for going off topic)
Yup. Next to nothing is pretty much exactly what it is. I checked this out once, and exactly how much the artist get per stream even by the same streaming provider varies depending on location, royalty rates, currency and other variables. Some typical per-stream figures for different streaming platforms: Napster $0,019 / Tidal $0,01283 / Apple Music $0,00783 / Spotify $0,00437 / Youtube $0,00069, meaning you will have to play a song about 240 times on Spotify in order for the band to get 1 USD (or about 80 times using Tidal), if my maths is up to scratch. I confesss I use Spotify nevertheless, it is just too useful checking out new stuff, playing when I’m on the move, and for making playlists.
On the other hand, I also have bought every single MP record at least once (and generally buying too much music according to my missus) so I actually end up paying them more: when I buy the record and then again a little bit every time I play a MP playlist or an album on Spotify. My bold conclusion is therefore as long as you also buy the music physically Spotify is beneficial for all parties. If you only use streaming services not so.
Sweet Jesus! I was out of breath after the NOX experience, even if it was a sitting down event! Really powerful and evocative, visually as well as musically. And Thomas! I say no more.
Also, the staff at the venue had at least one videocamera in operation so let's hope something surfaces at some point for everyone to enjoy.
