Camp Motorpsycho » General

Øya Festival, Oslo 10/8-19

(13 posts)
  • Started 1 week ago by Supersonic Scientist
  • Latest reply from kjellepelle

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  1. Supersonic Scientist
    Member

    Same set as in Trondheim, MP with Ola Kvernberg and Lars Horntvedt on all tracks.
    * The Piece composed especially for this project
    *The Crucible
    *The Tower

    Aprx 70 minutes.
    The whole set was backed by the stunning visuals by lights and video artist Boya Bøckman, and also featured some of the artwork by Håkon Gullvåg.
    Amazing gig, sound was close to perfect next to the mixer.

    Posted 1 week ago #
  2. otherdemon
    Member

    Sound was also close to perfect upfront center.

    Definitive versions of Crucible + Tower. The former was a bit sloppy in
    Oslo this spring. Tonights version was spot-on. The Tower was also great,
    although it was a bit shorter than usual due to time constraints. Ola + Lars
    added alot of exciting parts. It seemed like they'd rehearsed a lot this time,
    which really showed

    New piece was interesting. Main themes were great, and some of the jamming really
    hit bulls-eye. Though I do think it will be radically re-worked for studio release.

    So I agree with OP: Amazing gig!

    Posted 1 week ago #
  3. tkm
    Member

    Fantastic gig.

    Håkon Gullvåg was also present today

    Posted 1 week ago #
  4. tkm
    Member

  5. Elvin
    Member

    The reviewer is midly amused 4/6

    SPELL HAWKS! SPELL CARDS!

    Google translatet for you here :
    On the roller coaster with Motorpsycho
    Huge ambitions. Great moments. But the Motorpsycho / Håkon Gullvåg combination on the island raises the question: Has the commissioning rock gone too far?

    For a few minutes of "The Crucible," when the projection on the back screen shot tremendous speed through Håkon Gullvåg's motifs from "Egypt's drowning army," there was a staggeringly funny feeling of being on the prog rock-and-roller coaster. The picture forms, as you know, the cover of Motorpsycho's album of the year "The Crucible" (a much tougher record title had of course been "Egypt's drowning army"!) Motorpsycho's commissioned work based on the visual artist Håkon Gullvåg's pictorial world was made for this year's Olavsfestagullen in Trondheim Gårvård in Trondheim was marked) and repeated as an end to the Island Festival, for a half-full Circus Saturday night.

    With him on stage in this project is Motorpsycho Ola Kvernberg and Lars Horntveth, both of whom have previously collaborated with Motorpsycho at various stages. The concert consists of a long, newly written, eh, suite, if you will, clocking in around 40 minutes, as well as the title tracks on the band's last two albums "The Crucible" and "The Tower". All together, it forms a kind of Håkon GUllvåg trilogy, and it is good that they are rounding it off now.

    After an hour, we had gone through two songs, and then "The Tower" - 8.41 on the record - was concise in context.

    The visual part of the work is by video artist and scenographer Boja Bøckman (who, among other things, made the successful audio-visual expression of the Norwegian Theater's Bowie performance "Lazarus"). It is a technically advanced layout with both front projection on a partially transparent curtain and a rear screen covering the entire stage wall. Bent and Snah have music stands in front of them, so it's serious.

    In the opening composition, which is possibly called "The World", a ground-fire-air-water theme gradually emerges, where manipulated pieces of Gullvåg's recognizable basic elements move circularly first, then horizontally inwards, then vertically downwards. The centerpiece here was one of the highlights of the concert, where a kind of desolate volcanic landscape, post-apocalyptic or extraterrestrial, rushed in. With "Riders On The Storm" -like keyboard sounds from Lars Horntveth and raining droning outside the tent, the atmosphere became extraordinary. And when Ola Kvernberg's violin plays the melody line synchronously with Bent and Snah so that the whole band lifts each other, it was definitely a feeling to be in something special.

    But at other times, and really in large parts, Motorpsycho's ever-heavier, more intricate and almost clumsy prog themes and the magnificent Gullvåg images seem to really do nothing about each other, other than being on the same scene at the same time. The fact that this is pretentious is perfectly fine, pretentious must be law, Motorpsycho has since the beginning 30 years ago advocated great ambitions to connect the visual and musical in stage context. The curtain projection and Ola Kvernberg's participation here bring the thoughts in the direction of "The Death Defying Unicorn", at the Opera and on double CD in 2011-2012. It still appears as Motorpsycho's most successful realization of its Gesamtkunstwerk idea, with a clearer direction, and a stronger conceptual substance, than the not quite logical splitting of Gullvåg and Motorpsycho.

    Towards the end of "The Tower" they raged a bit more with Gullvåg's pictures - and the picture of Gullvåg himself - in quick cuts and drastic interventions. It was almost a bit punk. At the same time, it was almost liberating when they just played "The Tower" song straight ahead and turned off the pictures.

    In recent years, the cultural house rock has become an established phenomenon. Big and nice and expensive it should be. Now we are on our way into the ordering rock. It is a somewhat worrying development. It's nice to stand under the torrential rain and look at moving psychedelic images and hear Motorpsycho riff in the way, but it also feels a bit remote, almost irrelevant. Otherwise, I tend to like Motorpsycho when playing far. Many concerts during this year's Island have wanted to shout "spell hawks!", Here I wanted to shout "spell cards".

    Posted 1 week ago #
  6. otherdemon
    Member

    Haha, there were several times during this concert where I too wanted to shout "spell hawks" and "spell cards". Goes without saying

    Posted 1 week ago #
  7. TraktorBass
    Member

    «Spell kort» ?

    Posted 1 week ago #
  8. Spacebandit
    Member

    Spielkarte? Eller Setlist?
    Tusen takk to the members here keeping me informed.
    Looking forward to the "official album" they will do from that nice weirdness.

    Posted 1 week ago #
  9. mikke
    Member

    kort as in short? play short songs?

    Posted 1 week ago #
  10. ThorEgil
    Member

    An example of google translate failure.

    Many concerts during this year's Island have wanted to shout "spell hawks!", Here I wanted to shout "spell cards". should be something like

    At many concerts during this year's Øya festival I have wanted to shout "play louder!", Here I wanted to shout "play shorter".

    Posted 1 week ago #
  11. kjellepelle
    Member

    Is there anybody that can publish the norwegian text?

    Posted 1 week ago #
  12. Elvin
    Member

    Jau:

    På berg- og dalbane med Motorpsycho
    Enorme ambisjoner. Store øyeblikk. Men Motorpsycho/Håkon Gullvåg-kombinasjonen på Øya reiser spørsmålet: Har bestillingsverk-rocken gått for langt?

    I etpar minutter av «The Crucible», når projeksjonen på bakskjermen skjøt voldsom fart inn gjennom Håkon Gullvågs motiver fra «Egypts druknende hær», var det en svimlende artig følelse av å være på prog rock-berg-og-dalbane. Bildet danner som kjent omslaget på Motorpsychos album av året «The Crucible» (en mye tøffere platetittel hadde jo selvsagt vært «Egypts druknende hær»! ) Motorpsychos bestillingsverk med utgangspunkt i billedkunstneren Håkon Gullvågs billedverden ble gjort for årets Olavsfestdagene i Trondheim (der Gullvågs 60årsdag ble markert) og gjentatt som avslutning på Øyafestivalen, for et halvfullt Sirkus lørdag kveld.

    Med seg på scenen i dette prosjektet har Motorpsycho Ola Kvernberg og Lars Horntveth, som begge har samarbeidet med Motorpsycho tidligere på forskjellige stadier. Konserten består av en lang, nyskrevet, eh, suite, om du vil, som klokket inn på rundt 40 minutter, samt tittellåtene på bandets siste to album «The Crucible» og «The Tower». Tilsammen danner det en slags Håkon GUllvåg-trilogi, og det er vel greit at de avrunder dette nå.

    Etter en time hadde vi vært gjennom to låter, og da ble «The Tower» - 8.41 på plate - konsis i sammenheng.

    Den visuelle delen av verket er ved videokunstner og scenograf Boja Bøckman (som bl. a har gjort det vellykkede audiovisuelle uttrykket på Det Norske Teatrets Bowie-forestilling «Lazarus»). Det er et teknisk avansert oppsett med både frontprojeksjon på et dels gjennomsiktig forheng og en bakskjerm som dekker hele sceneveggen. Bent og Snah har notestativer foran seg, så da er det alvor.

    I åpningskomposisjonen som muligens heter «The World» avtegner det seg etterhvert et jord-ild-luft-vann-tema, der manipulerte biter av Gullvågs gjenkjennelige grunnelementer beveger seg sirkulært først, så horisontalt innover, så vertikalt nedover. Midtpartiet her var noe av høydepunktet i konserten, der man suste innover et slags øde rykende vulkanisk landskap, post-apokalyptisk eller utenomjordisk. Med «Riders On The Storm»-aktige keyboardklanger fra Lars Horntveth og regnet drønnende utenfor teltet ble det usedvanlig stemning. Og når Ola Kvernbergs fiolin spiller melodilinjen synkront med Bent og Snah slik at hele bandet løfter hverandre, var det absolutt en følelse av å være med på noe spesielt.

    Men andre ganger og egentlig i ganske store deler virker det som om Motorpsychos stadig tyngre, mer innfløkte og nesten knortete prog-temaer og de storslåtte Gullvåg-bildene ikke egentlig gjør noe med hverandre, annet enn å være på samme scene til samme tid. At dette er pretensiøst er helt greit, pretensiøst må være lov, Motorpsycho har helt siden starten for 30 år siden pleid store ambisjoner om å koble det visuelle og det musikalske i scenesammenheng. Forhengsprojeksjonen og Ola Kvernbergs deltagelse her bringer tankene i retning «The Death Defying Unicorn», på Operaen og på dobbelt-CD i 2011-2012. Det fremstår fortsatt som Motorpsychos mest vellykkede realisering av sin gesamtkunstwerk-ide, med en tydeligere retning, og en sterkere idemessig substans, enn den ikke helt logiske spleisingen av Gullvåg og Motorpsycho.

    Mot slutten av «The Tower» herjet de litt mer med Gullvågs bilder - og bildet av Gullvåg selv - i raske klipp og drastiske inngrep. Det var nesten litt pønk. Samtidig som det nesten var befriende når de bare spilte «The Tower»-låten nokså rett fram og slo av bildene.
    De siste årene er kulturhusrocken blitt et etablert fenomen. Stort og fint og dyrt skal det være. Nå er vi på vei inn i bestillingsverk-rocken. Det er en noe bekymringsfull utvikling. Det er fint å stå under tak i høljregnet og se på psykedeliske bilder i bevegelse og høre Motorpsycho riffe i vei, men det føles også litt verdensfjernt, nesten irrelevant. Ellers pleier jeg å like Motorpsycho når de spiller langt. På mange konserter under årets Øya har man hatt lyst til å rope «spæll høgar!», her fikk jeg lyst til å rope «spæll kortar'».

    "Prøv dagsavisen i 3 måneder for 1 kr" Okeidå

    Posted 1 week ago #
  13. kjellepelle
    Member

    tusen takk Elvin

    Posted 1 week ago #

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