The All Is One

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      Haven't bought a copy of the record yet, but will be soon (I'm buying a new house, and strangely enough that got the priority over a new MP Record!).

      But I listened to the record on Spotify.

      Ooh my.

      I think this will be a good candidate in my top 5 favorite MP records.

      I really love everything about it, the only song I don't particularly love is "The Same Old Rock"…the rest is just pure gold. Alchemy surely had an influence :D

      I see many people love the record and the NOX suite too. That's interesting, I find it as "concentration-requiring" as TDDU, yet most people find that record boring to listen to…maybe I suggest these people to give it a new spin after this, they might change their mind!

      Going back to the record…the quieter songs are real jewels, very simple yet moving! Those really surprised me.

      I really love the other loud ones. Some of them have that Gullible's Travails like groove and epicness that really hooks me.

      I seriously never thought I could enjoy a new record as much!


        that violin in CATS pt I :o :o :o

        makes a grown man cry


          So far I am unfortunately not a big fan of this new record. I can hear that Nox is a special song, though, but I find most of the other songs quite "standard" and not as great as most of you seem to do. However it is still very early in the listening process for me, and normally MP records need quite some time to settle in. Maybe it will grow, or maybe it will remain as TDDU, which I never got into….hoping for the best!

          By the way: the 3 gigs in Porsgrunn in November were sold out faster than a shark!


            It's probably just a formatting dud of sorts, but when I listened to the album on Spotify in the car today I noticed the tracks listed as

            N' .O.X. I-V

            Where's that apostrophe coming from?

            It's not like that on the downloaded media from bandcamp/stickman.

            Good lord, what an insane track, though. I mean. Holy smoke. It's so rich!

            Someone else mentioned they've had a few hits and misses trying to get their jams down on studio albums, and I agree-ish. It's occasional chaos and makes for sweaty listening.

            N(').O.X, on the other hand was smack in my face from the first spin and just keeps growing.

            What a band. I'm so happy!

            I am also thoroughly enjoying the songs they've decided to wrap around this monster composition. Both sides A and D are great. Like Chrome is fantastic!

            Their best album, perhaps? Side A guides you to the point where they say 'hey, here you go, just have at it!' and punch you in the face with NOX, before they let you down gently afterwards again, just to send you running back for another spin when the last notes of side D fades out.

            A masterpiece!


            Rune wrote: I am also thoroughly enjoying the songs they've decided to wrap around this monster composition. Both sides A and D are great. Like Chrome is fantastic!

            Their best album, perhaps? Side A guides you to the point where they say 'hey, here you go, just have at it!' and punch you in the face with NOX, before they let you down gently afterwards again, just to send you running back for another spin when the last notes of side D fades out.

            A masterpiece!

            Little Lucid Moments!

            Title track(oohhh) and "The Alchimist" are the essence of the core, inside we have many beautiful old resonances(their wonderful spring age) and maybe the starting point to last MP age.

            It sign the point of no return.

            Does anyone agree?

            And tomorrow?

            Tomorrow never knows…


              @psychonaut; I'm not sure I understand your post the right way but it got me thinking, listening to, and analysing TAIO, these songs are full to the brim with references to their earlier works. It almost becomes a fun game to find them, both in lyrics and musically (maybe this could be a fun new thread to sum them up?).

              And I like the idea of it, that they both made a sensational new and epic album, as well as sort of a 'best of Motorpsycho', including a vision of a possible future'.IF this was done on purpose during the composition of this collection of songs, if not this could be a bad sign that the composers' well is running dry and they start to repeat themselves. That was my sombre thought when I first heard The Same Old Rock.

              But I only have to rewatch the gig with Ole Paus to realise MP has become evermore versatile over the years, so no worries. After N.O.X it wouldn't surprise me if they came up with a symphony orchestra piece, they have their skills proven to be on a level like that. Or whatever else that will surprise them to create and us to enjoy. As B.S. often states in interviews they don't really want to look back nor know what they'll do next, it's part of the creative process within MP apparently, and while for us listeners, psychonauts it's easy, with hindsight to distinguish ages within the MP repetoire and timeline, I believe within the music as a body of work there is in the end a common factor that seems loose from time and space, which is the intensity and creativity they convey through sound (and fury, haha). I believe, if TAIO was set up to, among other goals, work like a "this is Motorpsycho", it also proves their music IS like a universe in itself, one where time flows forwards, backwards and in circles, without limitation, without points of no return. :arrow:


              @Jero I'm sure that, ideally, there aren't point of no return but when you change you historical drummer(not in transitory BHBC but with LLM), it mark a strong groove in your music that, in final time, is forged by influences and difference. With Kapstad we had another universe that with Reine Fiske takes on further new luster. Basically my answer to Rune was on impression about he feels listening TAIO what I feel at the same way about with song LLM, a work that I feel, when I listen for the first time, detached from, at least, three previous albums. TAIO don't give me this impression but it is a masterpiece, every morning I wake up with, in my head, a different song that it starts before time that I put the CD in my car, every day go on my intrepid exploration of these circles around the sun, of this such magnificence, the sound and the fury and this deep, deep, deep blue sea…

              With love

              the conscience


                4 of 5 stories, all still in progress, but maybe to funny waiting for a release.

                again in german, but you surely know, how to translate.

                the writer hopes to finish them after his vacation



                  @psychonaut – I agree! I remember LLM feeling like a real departure, both in terms of the music, the first album with KK, the suite, and as the first record on Rune Grammofon. I wonder if this is the very transition point Bent is talking about in the interview; when MP went from a “career in rock” to an ongoing art project with the records more as “proof of process“ than products. Good and bad imo, good in the way it’s given us so much music, and so many great side projects, bad in the way that this approach maybe results in a certain work method where song-sketches are fleshed out in practice, which makes them a bit formulaic (or that they settle in a certain groove or vocal melody), whereas before I got the impression Bent or Snah would present a 90% finished song, and the band would “finish it off”. This might also explain why I find it hard to tell a lot of the Rune records apart (the artwork doesn’t help), whereas the older ones has more distinct identities. I get that they were tired of writing all these songs though, that it felt a bit like a “hekkeløp” in the end (quote Snah after BHBC if I remember right, which actually does feel a bit like hurdle racing, though a great one;–), and the new approach was a necessity in order to survive. Backed up by Rune they could finally allow themselves to be an all out experimental band on an art label, and work as such. Which was great at that point in the career.

                  So yes, I agree w Psychnaut over here that there is an interesting mirroring between TAIO and LLM, and perhaps some clues to both my love for this latest decade of MP records, and also my problems with it.

                  boomer former helm

                    just need to mention the lyrics again. they really have such an emotional and philosophical depth that it sometimes seems to me to be spoken directly from my heart. for me personally the texts are very helpful to bring some order into the current chaos and to locate me as a human being in an increasingly crazy present. that is incredibly valuable.


                    What an incredible lift-off in Ouroboros. Out of the guitar solo when Snah takes over that melody. Close eyes and float away into the void. Into the mystic. Whereever but surely out of this world.


                    If someone needs, some clear vinyl leftovers at Stickman available at the moment…


                      ah! I knew patience would pay off

                      Punj Lizard

                        I'd really like to know who plays what on each of the tracks on this album, but sadly the CD version doesn't contain any such information about who plays what … at all! Is this information available on the vinyl version? If so, is there someone who can help fill me in? Perhaps a photo of the info? If so, please send to jyotipunj at hotmail dot com.


                          There‘s extensive production credits on the vinyl edition (where when why who) but no detailed notes on who played what.

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                        …hanging on to the trip you're on since 1994