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Not yet worthy enough of a new thread regarding a potential KoO-Follow Up, but apparently today marks the last day of recording in Oslo. Might be MP, might be another band Tomas is involved in.
https://www.instagram.com/stories/tomasjarmyr/2571837640192332306/?hl=de
Not sure if this has been pointed out before, but i'll go anyway. According to the notes on the vinyl, one should consider Dreamkiller another Bent "Home Recording". All credits go to him except for harmony vocals by Snah. Pretty impressive
@mark – That is Trondheim Jazz Orchestra recording "Maetrix" by Espen Berg. Maetrix was his comissioned work for Moldejazz in 2017.
https://www.instagram.com/p/COspFcapG8g/?igshid=16oy2dcedg715
marc
Quote:One thought on Snah's solos: I think the reason why they appear a bit generic recently is that the solos lie on top of mostly pentatonic or one-chord riffs…so, there isn't much to venture out from. God needs some harmonics and chord progressions to play with and lift off fromProbably. But if so, then wasn't that the point of this "hardrock album"? As usual they set out to do something and then they go all the way accordingly. I'm happy they don't do every genre and stylings on every album, which would make them sound samey eventually.
But what do you mean by "recently"? Since earlier than KoO? Already on the Gullvag trilogy? That'd be a bold statement. 8O
(and I'd never call Snah's playing generic on any record but I guess I know what you meant here within context
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@johnny
I understand what you mean, or what your priorities are. The loud sections do sound a bit wider and flatter as those on Trust Us for example, to this day my favourite sounding record (apart from the "lofi charm" of Timothy). When KoO gets loud, I'd rather put it in the realms of late 70s early 80s hard rock, when the early 70s aesthetics already have gone out of fashion. But similar to my response above to marc on the issue of chosen scales, I think that was simply the purpose, and not a flaw or oversight or bad decision. I just wonder if it's really because of analog vs digital technology. Not knowing how much of each has been used where and how anyway. Also different amps and mics and pedals and guitars were being used over the years. And according to reviews and praises all around, not a lot of people seem to bother about any overcompression here. Thankfully we're still lightyears away from the latest Tool record. That one I find way too "cold" and therefore doesn't move me at all as opposed to their first couple of albums.
@ supernaut: Listened to Side 2,3 and 4 the other day once again and realized it's not all as bad as I thought the first time. Some songs sound just as they should – I probably was just a little overwhelmed by the new "straight" heavy/symphonic rock" concept. Still not entirely satisfied with the "Lurker" though…
Haha while listening to it a few times more with focus on the issue we discussed, I did notice more of what you were talking about. Not really in the guitars, though, but in the overall sound. But I still think that was the purpose in making a hard rocking album. Tame the flourishing soundabouts and make it tight.
Lurker? Sound or song? First half I find amazing, riffs to die for. The "noodling" in the 2nd half is challenging to my nerves, but hey, over the top is the way to go. Or as someone said: "anything worth doing is worth overdoing".
This time definitely song.
For me the "Lurker" is rather lukewarm compositionwise. Just like "Gullible's Travails" ten years ago. Neither fish nor flesh. Good riffs, but not strong enough to carry the whole thing. Or just the other way round – the composers didn't entirely trust the riffs and added lots of chords that rather lead nowhere. Just my personal impression.
Quote:lukewarm compositionwise. Just like "Gullible's Travails" ten years ago.Sacrilege! :evil: :wink:
@ Ratmaus: Yes, I know! Just have to convince myself occasionally that I'm still able to get up from my knees when I talk about Motorpsycho
I have to adjust my harsh verdict on "Gullible" from above – just heard it once again – first time in years. this one has lots of great moments, entire passages that are absolutely great. It just doesn't all come together in the overall composition imho. Probably I only remember the Heidelberg concert from 2010 when they closed with Gullible, me already being rather tired and overwhelmed by what came before and a little annoyed by the long drawn-out end passage that I always considered not the best part of the song. Much too long for a fadeout, but with a fadeout feeling surely.
Glad you highlighted that, Mikke – that moment really gives me the chills. The whole thing is, of course, a fantastic piece of music. Maybe I would just concur a little bit with you, Johnny, about it not quite coming together, in that the piece doesn't quite seem ready for when the climactic moment hits, but, once you know the piece, that's just how it is, and you love it for what it is.
Now that we're talking about Snah, and bringing it back to the present, is anyone else concerned about the recent shortage of Snah material? I mean, he's still working wonders with the guitar – no question – but what happened to the Snah songs? Bent said he is no longer interested in standard song format. Well, Snah doesn't have to go along with that if he still wants to write a 'song'. At the risk of always bringing it back to Yes, after producing so many epics, they weren't above composing little gems like Wonderous Stories and Don't Kill the Whale before they went into decline. It's an art.
Snah has given us some truly unique pieces – all real one-offs that are never obvious, and that surprise at every turn – Serpentine, Upstairs-Downstairs, Year Zero, The Light Fantastic, etc., etc. He really moves this listener's heart with his writing – long or short form.
Wasn't The Light Fantastic a track that didn't make it onto The Tower? I wonder why. I think I prefer it to at least three or four of the tracks on that album. Still, at least it got to be a title track! But, there's been precious little since (the odd co-credit aside).
It feels like we are missing something important – part of the MP DNA. I guess Snah is conscious of quality control, and only wants to send his creations into the world when he has polished them and judged them worthy.
Anyway, let's hope it's not too long before we hear another one of those utterly unique beauties – the sort that only Snah can give the world.
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