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Wish I could have been there!
But wasn’t it the December 3?
I am not emotionally connected to this tld…
Thanks a lot for your effort!
First 4 Songs acoustic:
Whip That Ghost
On a Plate (on Setlist but not played)
Black to Commmm (not on Setlist)
Motorpsycho might currently have one of the biggest live-repertoires in their history. So I hope that there will be very different setlists again. Of course, there will always be something from the last two albums, which only a few of us have been able to experience live so far. Mixed with oldies, which the planned releases of Maiden Voyage and I think Lobotomizer could bring with them. And of course one or the other new piece that will let us dive deeper into the future Motorpsycho cosmos. I am very excited and look forward to many great live hours and to meeting up with many of you again. Only one more month!
Tour dates updated with Italian dates:
07.04.2022 – NO Tromso, Driv
08.04.2022 – NO Trondheim, Verkstedhallen
09.04.2022 – NO Alesund, Terminalen
19.04.2022 – NO Bergen, Kulturhuset
20.04.2022 – NO Stavanger, Folken
21.04.2022 – NO Oslo, Sentrum Scene
29.04.2022 – SE Malmö, Plan B
30.04.2022 – DK Copenhagen, Stairway
02.05.2022 – DE Hamburg, Markthalle
03.05.2022 – DE Hannover, Faust
04.05.2022 – DE Berlin, Festsaal Kreuzberg
05.05.2022 – DE Bremen, Schlachthof
06.05.2022 – DE Köln, Stollwerck Gloria
07.05.2022 – NL Nijmegen, D'roosje Sonic Whip
08.05.2022 – NL Groningen, Vera
09.05.2022 – NL Amsterdam, Paradiso Noord
11.05.2022 – CH Fribourg, Fri-Son
12.05.2022 – IT Padova, Hall
13.05.2022 – IT Nonantola, Vox Club
15.05.2022 – IT Trezza sull'Adda, Live Club
17.05.2022 – IT Torino, Hiroshima Mon Amour
18.05.2022 – AT Wien, Flex
19.05.2022 – CH Winterthur, Salzhaus
21.05.2022 – DE Reutlingen, Franz K
22.05.2022 – DE München, Backstage
23.05.2022 – DE Dresden, Beatpol
24.05.2022 – DE Bielefeld, Forum
25.05.2022 – BE Arlon, Entrepot
07.08.2022 – CH Val de Bagnes, Palp Festival
23.09.2022 – BE Leuven, Het Depot
Thanks so much for your effort Vegard! Another forum I saw uses phpBB software. Don’t know if that could be feasible or would fit.
Nov. 28th 2011 Oslo Domkirke "Orgelfest"
A 7/10 translated from italian by google:
The All Is One
by Marco Biasio
All good at pleasing the undisputed masterpieces of the 90s, the exciting pop phase of the early millennium, even the expanded and psychedelic first fruits gained following the drumming relay between HÃ¥kon Gebhardt and Kenneth Kapstad … Never one who spontaneously affirms, instead, to love – attention, not to appreciate: to love – the adult Motorpsycho of the decade that is dying out, fickle architects of their own destiny: the young boys of Trondheim struggling with superb synthesis between indie rock and seventies prog (the still underestimated today "Behind The Sun â€of 2014), adrift on the crest of touching lysergic explorations (â€œ Here Be Monsters â€, 2016) or trapped in transitional discs (â€œ Still Life With Eggplant â€, 2013). Or, again, the musicians caught grappling with the ambitious four-handed rock operettas with StÃ¥le StorlÃ¸kken (the sparkling "The Death Defying Unicorn" of 2012, the less fortunate "En Konsert For Folk Flest" of 2015), the artisans of the soundtracks live (â€œBegynnelserâ€, 2017) and the promoters of unusual transgenerational collaborations (such as the one with Ole Paus, which resulted in the discreet â€œSÃ¥ NÃ¦r, SÃ¥ NÃ¦râ€ at the beginning of the year). The thinking minds, finally, behind the latest important conceptual installation, the self-defined GullvÃ¥g's Trilogy (named after the painter who made all the covers), of which today the (double) twenty-second full length "The All Is One" – successor of the non-despicable albeit discontinuous â€œThe Towerâ€ (2017) and â€œThe Crucibleâ€ (2019) – should constitute the final chapter.
The reasons for the relative critical lukewarmness with which the recent production of Motorpsycho has been received, especially in reference to the golden eight years 1993-2000, are various, multiple and interconnected: from the regression to a more conservative and rock oriented style to realization of works that are too long for the actual amount of ideas put in place, from the conscious choice to transfer the format of live improvisation to the hardships faced within the line up (the inclusion of alternate plates of Reine's second guitar Fiske, the abandonment of Kapstad and the takeover of the surgeon Tomas JÃ¤rmyr). It is perhaps no coincidence that, in presenting "The All Is One" in great detail (initially scheduled for spring), Bent SÃ¦ther seems almost to apologize, for the first time, to his listeners: "It has become one intense listen, an epic and dense piece of music that might be perceived as demanding by some listeners, but that also hopefully rewards those with patience and a longer attention span ". As if to say: it is precisely when a phase seems to have ended that the immediate relaunch awaits around the corner. To be honest, we would have to open a long parenthesis on how effectively the "new" Motorpsycho have deviated from the mission of the "old" or, in other words, if this creative phase of theirs is nothing more than the other side of the coin nineties (the same band seems to think so), but it is a discourse that would take us, perhaps, too far. Certainly far from the punctual concreteness of the eighty-five minutes of the platter in question, recorded between September and November 2019 in three different sites: the Black Box of Noyant-la-GravoyÃ¨re (where, in the previous June, "SÃ¥ NÃ¦r, SÃ¥ NÃ¦r" was also recorded ), Giske's Ocean Sound and Kommun ', Trondheim's home studio.
Straight to the point: although the lyrics do not shine for acumen (rather verbose, for example, the text of the title track, a generic tirade against information at the time of post-truth) and the acoustic recordings are far below expectations at this time – â€œDelusion (The Reign Of Humbug)â€ has all the air of being a Yes outtake: â€œA Little Lightâ€ is an elementary folk sketch turned off in a disturbing dark ambient suck; â€œThe Dowserâ€ a superfluous semi-electric ballad that slavishly follows the melodic progressions of â€œBig Surpriseâ€ -, â€œThe All Is Oneâ€ is the best record of Motorpsycho since the aforementioned â€œBehind The Sunâ€. This, mind you, not due to the presence of who knows what innovations: on the contrary, the (non) novelty is that there are no news. What stands out, if anything, is the unexpected quality of a writing which, in its direct inspiration from the best pages of the recent past, produces excellent results on at least three fronts: the more drawn and classically rock songs, the orchestral hybridizations and, not for last, the renewed tribute to its indie roots.
As for the first side, even apart from the robust proto-hard rock charade of the enthralling single "The Same Old Rock (One Must Imagine Sisyphus Happy)", one cannot fail to mention the title track which, opened by a subtle bluesy pizzicato ( from Leaf Hound's "Freelance Fiend" to Pontiak's "Young", always there we are), immediately swells the sails in the direction of a polyform Crimsonian rhapsody propelled by mellotron winches and epic constructions of acid guitar solo, finally arriving at a delicate final waltz for piano, accordion and electric arpeggios. The second is of course represented by the mammoth suite in five acts "N.O.X." (forty-two minutes in total), inspired by alchemical and astrological themes and evolved from the music for ballet that the band, on commission, performed at the St. Olav Festival last summer together with faithful associates and friends Lars Horntveth (Jaga Jazzist) and Ola Kvernberg. Although the influence of the tonal jazz rock grandeur of some passages of "The Death Defying Unicorn" is undeniable here (take the furious rhythmic attack of "NOX V: Circles Around The Sun, Pt. 2", almost a "The Hollow Lands "squared) and the sin of overabundance always lurking (of the interminable" NOX IV: Night Of Pan "only the last five minutes really like and convince, a tense reinterpretation of the Gong always on the verge of breaking), the elements no shortage of surprise: from the noir projections of Horntveth's brass that redouble Kvernberg's floating violin in the opening of â€œNOX I: Circles Around The Sun, Pt. 1 "(closing in deadly crescendo, a foaming jazz-prog maelstrÃ¶m) to the overwhelming groove of" N.O.X. II: Ouroboros "(almost an improvisation by Bushman's Revenge arranged by the Brimstone), up to the ecstatic instrumental visions of the shorter" N.O.X. III: Ascension (Strange Loop) "(a suspended and unreal American, crystallized in timeless forms of elegy). However, it is the third side that reserves the real world-class hits: already warned by the high tones of SÃ¦ther's evergreen singing in "The Magpie" (the Rush passed through the filter of "Timothy's Monster", and it is a compliment), the definitive breakdown comes with â€œDreams Of Fancyâ€, a melancholy indie heart-diving anthem garlanded with sparkling hard-prog rosettes. The closure is semantically coherent: â€œLike Chromeâ€ is a slacker full of panoramic views and stuffed with Zeppelin licks, something that for mood and construction would stand out in the lineup of a â€œBlack Hole / Blank Canvasâ€.
The substantial criticism that could be moved to "The All Is One" is, if anything, of a structural nature: from this tracklist, for distribution of the songs even before mere minutes (rather cumbersome, specifically, the central presence of "NOX" , which actually risks weakening the impact of the pieces that precede and follow), it was possible to obtain at least two distinct discs, avoiding the anthology effect that occasionally comes to the mind of the listener. Or is it perhaps a side effect of the tunnel of memory that each of us retraces, with bittersweet and poignant saudade, every time that riff, that voice, that melody reemerges from the grooves of the vinyl?
"The All is One" is 80 minutes of pure madness.
Translation from German to English by deepl:
Motorpsycho have done it again. And how. They have created an album that is more than just individual songs, it is a work of art in itself. The three Norwegians from Trondheim manage again and again to give a little bit more, to become a little bit more perfect, to be a little bit more bizarre and challenging and above all to become a little bit better than they already are. What Motorpsycho serve up with "The All Is One" is quite complex, but you don't know anything else about them. For the last 30 years they have always challenged the listeners with their stylistic breaks, and "The All Is One" does it the same way. Simply more violent, harder, more intense.
"The All Is One" is a cosy title track in best motorpsychodelical style. Guitars, a warmly distorted bass, harmonies that remind of the times of the albums "Let Them Eat Cake" or "Phanerothyme". The strings (respectively the mellotron) make the entry a feast for the senses and as it is, the whole thing unobtrusively rises to a symphony so typical for Motorpsycho.
The Magpie" comes along driving, almost a bit reminiscent of her music from the nineties. Even if it is rather rough, the arrangement is not as raw as it was back then. Everything fits in the right place, including one of those guitar solos you can hardly expect live. "Delusion" is almost to be seen as an intermezzo, or as a preparation for what is yet to come.
"N.O.X.", an epic in 5 acts. 42 minutes of pure madness. All at once, in one piece. Prog, Space Rock, Jazz and Acid are connected and create spheres. Spheres with which one draws circles around the sun. Guest musicians like Reine Fiske, Lars Horntveth and Ola Kvernberg get in and out of the car on this journey to make "N.O.X." even more insane. "Ouroboros", the tail eater, turns in a hypnotized circle. In order to generate harmonies in the middle of it, i.e. actually simply sounds to pierce marrow and bone. Goosebumps all over the body, post-rock at its best. "Night of Pan" increases over minutes only to prepare for "Circles Around The Sun", which is really hard on the listener. "N.O.X." is basically an album within an album, which becomes especially clear on the LP, where this monster has got two sides of its own. To be able to experience this incredible musical thing (I don't know how to describe it differently) hopefully soon live in one piece must be one of those experiences, like the tour of the psychonauts to the center of the earth with "The Death Defying Unicorn"!
When you – after a little rest – have managed to turn the record one last time, beautiful blossoms will appear. Yes, you are back where the album started. "A Little Light" gives you time to catch your breath even if it is only two acoustic minutes. "Dreams of Fancy" ties in with "Let Them Eat Cake" again, which doesn't bother me personally in the least. "The Dowser", a comfortably quiet Motorpsycho song and "Like Chrome", a straight, hard rock song complete this masterpiece.
"The All Is One" is the final chapter of the GullvÃ¥g trilogy (HÃ¥kon GullvÃ¥g is responsible for the artwork), which started in 2017 with "The Tower" and continued with "The Crucible" in 2019. "The All is One" is 80 minutes of pure madness.
You can literally feel that the band took their time and also found time to put everything in the right place. The symphonies are incredibly intense. Even if you think you recognize 1000 instruments playing together: Every instrument, every note, every touch fits perfectly. This album is brilliant, but certainly not music to dabble in. It challenges every brain cell, and even the umpteenth time you hear new details, sounds that you have missed so far. This is exactly how it has to be. So you are already looking forward to the next album or is there maybe even a next trilogy?
Translation into english from dutch by deepl:
Motorpsycho – The All Is One
Written by Dypfrys on 28-08-2020 at 18:50.
Motorpsycho has album twenty-two on offer. The All Is One is the last part of the "GullvÃ¥g Trilogy", which includes The Tower and The Crucible. Motorpsycho is an unpredictable band, that's the only predictable one. The psychedelic fusion extends over a wide musical landscape. The album comes out as a double LP/CD. Considering the playing time of 84 minutes, that's no wonder. Actually, the album consists of two separate albums, one of which is placed in the middle of the other in the playlist. The middle part is called N.O.X., which is Latin for night.
I'm quite a fan of The Death Defying Unicorn myself, but we don't hear much of the heavy scandipsych/stoner on that album here. On the outer part of the album I mainly hear Blissard, with quite witty songs in a psychedelic atmosphere. Effectiveness comes first, and in that you also hear more modern work like The Motorpnakotic Fragments. Calm, direct songs like Dreams of Fancy and The Same Old Rock (One Must Imagine Sisyphus Happy), which seem to flirt with country singer-songwriters and a band like The Eagles, turn out to be songs full of character. The vocals are well known by now, but sometimes hang a bit towards the somewhat irritating nasal American accent. When the country takes the upper hand, I think that's an advantage. On Delusion (The Reign of Humbug) you hear a lot of consonants (the 's' and 't'), which because of the condenser microphone emphasizes a bit too much. The minimal magical tones are reminiscent of Kayak, especially in combination with the cautious vocals. A lot of 70's rock in the style of Blue Ã–yster Cult can also be heard, and the almost spiritual guitar licks and the cymbal-rich drumming make things float. The delicacy and vocal/fuzzy outbursts shoot past each other. The All is One, The Magpie and Like Chrome represent the heavier side of this piece.
In the middle of this album, full of songs with the consolidated Motorpsycho sound, N.O.X. is shining. An (almost) instrumental Zappian piece full of jazzy jams and spacing fusion. Motorpsycho is known for his experimentalism, but this is a bridge further. Lars Horntveth (bandleader of JagaJazzist) and Ola Kverberg, a jazz violinist, have drummed up to come and help. For a one-off performance these musicians and Motorpsycho met each other. The collaboration was so good that it would come to this album. For almost forty minutes the band jams the stars of heaven. N.O.X. III Ascension is a highlight with spacey post-rock, a runaway saxophone amidst resonating harmonics and minimal ride-attacks. The initial spacey keyboard bleep behind it completes the atmosphere. The placement in the tracklist is magnificent, just after the festive schizophrenic N.O.X. II – Ouroboros (Strange Loop), and then all of a sudden that hovering peace… What a transition, and what an atmosphere! Awesome. Also the eclectic and dynamic N.O.X. IV Night of Pan knows how to fascinate. Reine Fiske can still show up here, like he did before in 2013 and 2014, to touch the guitar. Here the music is ritual and religious, and always ends in nightly dreams/nightmares. Grab the echoing vocals and you've got the recipe for waking up bathed in sweat.
I won't do it to you to dissect all the songs. That would be madness besides. It's 80 minutes asking to be played over and over again. For me personally the experimental N.O.X. middle piece was a very pleasant experience. The band reinvents itself with it. In a way which is very different, yet very individual. The other forty minutes have more the character of a focused album, that typically brings everything from Motorpsycho together. The song structures are more effective there. The result is that the songs are easier to grasp. Actually there are three parts to discover here: the heavy stoner work, the lighter country work, and the spacing jam work. All three times the band knows how to keep on captivating, with delicate string work and extraordinarily precise, sensitive drumming. That combination of fantastic instrument control, the variety and artistic freedom makes The All Is One yet another masterpiece.