The All Is One

[Tomcat]

The answer was already written … neddih And be careful, you got the quote wrong

[otherdemon]

@Tomcat: I did see that satanic backwards message :lol:

But I didn't understand what it meant…'

EDIT: Now I do understand what ya'll meant. I thought originally

you referred to some technical error where some vocal lines were

missing from the mix or something. But I now understand you just

wanted a song with Snah on "conventional" lead vocals :lol:

[shakti]

Anyone else getting a heavy mid-period Led Zeppelin vibe from the songs on the «home stretch»? Particularly Dreams of Fancy and Like Chrome, which really remind me of Rain Song and Ten Years Gone, respectively.

I am stil lukewarm about the opening title track. The lyrics especially just strike me as just too obvious and frankly, bland…they read like a column or an essay in Morgenbladet (Norwegian semi-high brow weekly newspaper), and musically I also find it very bland, like a distillation of latter-day Motorpsychisms. Same Old Rock also fails to excite me much, but it’s picking up from The Magpie and on. That track, and for that matter, most of the regular tracks, share a certain spund and vibe very reminiscent of the Behind the Sun/Motorpnakotic Fragments era, which isn’t too surprising given Reine Fiske’s presence. Dreams of Fancy is probably my favourite of the «song» tracks. It has some of that majestic Radiance Freq feel to it, but drags a little once they get into a more typical drive with the drums. Overall, the non-N.O.X. tracks aren’t all that impressive IMHO. They are nice, but more in a Motorpnakotic kind of way – good supplements to the catalogue, and all of them contenders for an album, but not strong enough altogether.

So for me, the success of the album stands and falls on N.O.X. As we all know, it is outstanding, phenomenal, radical and something truly new and unique in the Motorpsycho catalogue. In a way, it’s a return to the radical, extreme experiments of Demon Box or The Wheel, but updated in a way that could only really happen in 2020, even though you can point to hints in previous songs and eras, both from Motorpsycho or other inspirations.

If I were to rate the album overall I’d give it 5 out of 6 and rate is just below The Tower, which I feel was a more consistently inspired album (no real duds on that one, and plenty of new and truly awe-inspiring moments), but N.O.X.might be the single best thing they’ve done since the 90s.

[Tomcat]

@otherdemon

[shakti]

And I forgot to sing my praise for Tomas. It was love at first listen for me when he appeared on The Tower, and his work on Ship of Foolswas remarkable. But what he does on N.O.X. is in a league of its own. Supremely musical, with bone-crushing strength, technical finesse and an impeccable sense of when to go minimal and when to unleash it all. Each Motorpsycho drummer era has its own charms, but Tomas can do it all.

[otherdemon]

@shakti: I get a slight LZ-vibe from Like Chrome. But more a light Kashmir type vibe.

Dreams Of Fancy does remind me a bit of Gullible's Travails. Especially the D bass-riff by Bent accompanied by Tomas' drum groove.

[Ratmaus]

Rain Song, Ten Years Gone and Kashmir. They’re all in there! No ripoffs, but definitely and tastefully present. From MP’s own catalog I hear echoes of Triggerman (groove), Ratcatcher (melody), Gullible’s Travail (groove) and probably more, but again, no self-plagiarisms. Except for a couple of tracks that feel like what an AI would have produced if you fed it with the latest 5-6 MP albums and had it make songs. Love the album, and N.O.X. just leaves me speechless. I mean, what the bloody hell? Must be something in the water at Ocean Sound Recordings. Or maybe not, I actually drink the same water (I can almost see the studio from my house).

[supernaut]

yes, I got a LZ vibe especially during Like Chrome. Made me think that LZ might have sounded somewhat like that in the early 80s if they had carried on. Less mid 70s, more of a next step after In Through The Outdoor. Still rockin but with a bit of a handbrake on. In a good, "musically matured" way. Which isn't me downplaying LZ, far from it. Me huge fan. But their focus shifted on their last album towards understatement (especially Page) by freeing themselves from rock for rock's sake and paying attention to concise songs and new soundscapes (well the story also goes that Page had other things to deal with and Jones bought himself a new state-of-the-art synthesizer). And Like Chrome does just that.

Like Ratmaus I also heard the same traces of Triggerman and Ratcatcher. Btw I heard Ocean House Studios has imported water, so…

[Bartok]

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 “songs”. 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!

[supernaut]

Let’s not forget: as a lyricist Bent isn’t the 25ish carefree boysclub blissard rocker anymore, but a grown man and father caring about reality. And what a reality we have nowadays. Instead of providing post adolescent escapism he speaks his mind. He’s getting to the point, putting the fingers in the wounds. Poetic artistry takes a step back and I for one welcome that, especially because I don’t see any cringeworthy lyrics at all. Yes calling pigs out for short term profit interest isn’t most original, but that’s exactly the point. It’s a sad bland fact commented on dryly. Jaz Coleman style. It’s not about looking good lyrically, but about making a stand. And content over form.

[marc]

The lyrics of the title track are a lot less metaphorical than usual, that' true. I also found them a bit bland at first, but given the context they serve a purpose i guess. Just like Bob LeBad's last bunker memo, it's like straight out getting off the chest what's wrong with the world today. Once that point is off the table, the words go to more lyrical places from the second song on. That's how i read it. Letting off a bit steam – and then going back to art.

[Paolize]

My two cents: as usual, the album is amazing. No other band has this continuity producing music at such high levels. Speechless. Once again: thank you MP! Just a curiosity: am I the only one who hears the volume getting lower when N.O.X. starts? I mean, to my ears it seems N.O.X. volume is lower than the other songs… Maybe it's just me, but every time I have to press "+1" with my remote control (I've got the CD)

[GBD]

Quote:

am I the only one who hears the volume getting lower when N.O.X. starts? I mean, to my ears it seems N.O.X. volume is lower than the other songs… Maybe it's just me, but every time I have to press "+1" with my remote control (I've got the CD)

No you are not. There's a pretty big difference, and i also find myself having to press that +1 whenever Circles around the Sun Pt1 starts.

And on that note: the volume goes down a tad during the 2nd + 3rd verse on That same old rock aswell, though it goes back up during the heavy parts. A little curious that they didn't notice that during mixing/mastering

[Tomcat]

@Otherdemon:

"Like Chrome" sounds like it will be a difficult one to sing during a proper tour, at least towards the end when the voice getting rough – would like to hear Hans' take on this … but first we need a tour

[otherdemon]

@Tomcat: Yeah I'm having concert withdrawals now. The last concert I saw before everything

locked down was Ole Paus + Motorpsycho in the Oslo Opera House in February. Feels

like an eternity ago But let's hope for better days.

[Author]

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