Camp Motorpsycho » General

Too many albums?

(30 posts)
  • Started 3 weeks ago by shakti
  • Latest reply from cloudhawker

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  1. shakti
    Member

    Ok, so I chose a provocative title to get your attention. But as I have stated elsewhere, I am not too convinced by the latest one. I don’t like the sound/mix, I don’t like the sequencing and the balance of the material, and overall I don’t think there’s enough interesting material to justify yet another double album. However, I love Motorpsycho’s double albums. They are usually at their best when they don’t try to limit their scope or focus on a particular genre, rather let it all hang out, the bright and the dark, the heavy and the light, the complex and the simple, the stupid and the clever side by side.

    I was similarly also not entirely convinced by The All Is One, it felt lopsided with the NOX suite being such a highlight, and the comparatively weak opening (IMO) although over time I have come to really like most of the tracks on the home stretch. I don’t think they sit nicely beside NOX though, as it overshadows everything else.

    I don’t have KOO on vinyl yet so I don’t have the recording credits, but as I understand it most of the material is from the same sessions that produced the «regular» AIO tracks, is that right? If so, I think they had a much stronger album on hand if they had released NOX on its own and made a more traditional double album out of the «normal» AIO tracks and the KOO tracks, culling the best from each. Then maybe release an EP of the leftover material.

    I think there was a similar situation in 2013-14. Lots of great material, but the era didn’t produce a strong album all the way through. Across Eggplant, Behind the Sun and Motorpnakotic Fragments there is a really, really good double album and great EP or two.

    So how would you arrange the most recent material in the world where you are executive Motorpsycho producer and caller of shots? I don’t care if you think this is a silly exercise, it’s part of the fun of being a music nerd to second-gues our heroes. So this is a call of arms to all the backseat drivers and armchair experts out there!

    I am not entirely sure yet how I would do it, and it would be interesting to know a little about the sessions, but I can say for sure that I would releas NOX as a stand-alone album. I think it would have been great if they said «here, this is it, our new album». Something completely different from every album before it, a radical shift. Forcing people to pay attention, and letting the suite shine as the glorious achievement it is. It would rank way high in the Motorpsycho discography, definitely top 10 album for me and possibly top 6.
    The more typical double album that would follow it would have some of the darker KOO stuff alongside the lighter material from AIO. Not sure yet quite what I would include and what I would leave out, but I am pretty sure I would lose the title track from both. AIO (the song) was pretty embarassing IMHO, and KOO (the song) would be a cool standout EP track, but pales as a central/deep album track (again IMO). So a «lost title track» EP might be something.

    Tell me your thoughts.

    Posted 3 weeks ago #
  2. GBD
    Member

    I completely disagree, and will therefore not play (no fun i'm sure, but it gives me yet another chance to underline just how much i'm loving KOO)

    Posted 3 weeks ago #
  3. Kid A
    Member

    I’m with you on this.
    I would have released an EP with NOX.
    And then compiled a double album out of KoO and the rest of AIO, leaving out Comorant, the AIO title track and all of the D Side of AIO.
    Talking about AIO the track: it has something in it I like. But overall it’s too uninspired. I think this song is something they should have still worked and save it for some later release. Same with the AIO D-Side.
    The KoO title track is one of the best on the new album, imo.
    Maybe you should keep it in the back of your mind for the right mood? I’m sure, you can dig into it someday

    Posted 3 weeks ago #
  4. Elvin
    Member

    I agree. I've been thinking the same a lot lately - that besides all the youthful energy, place in time etc (both band and me) that made all those stone cold classic 90s albums so great, was that they also had tons of EPs to fill out with, eh, the "fillers".
    Don't get me wrong, I still LOVE Motorpsycho, but they can be a bit uneven. Part of being experimental and seeking band I guess, sometimes you discover crap, but it might be worth the try. Also, not a big fan of prog and technical wankery.

    Generally speaking, make shorter albums (and more EPs!).

    To make things easy, I'm starting with the Rune G period, an alternative universe where the Rune Grammofon has a evil label boss who won't just release anything. I'll leave all the live albums, as is, but probably release a bunch more. Same with the few 7"s.

    Little Lucid Moments
    - as is, but the LP version has an extended drone/blissout 20 min version of She left on the sun ship.

    Child of the Future - as is
    Heavy Metal fruit - as is

    The Death Defying Unicorn LP:
    A: Out of the Woods
    The Hollow Lands
    Through the Veil pt 1

    B:Through the Veil pt 2
    Doldrums
    Into The Mystic

    Something fishy Tour 10" EP
    A: Sculls in Limbo
    La Lethe

    B: Into the Gyre
    Floatsam

    Hell 10" EP
    A: Hell pt 1-3
    B: On a Plate
    Hell pt. 7

    Behind the Sun 2LP

    A: Cloud Walker
    The Promise
    August
    The Magic and the Wonder

    B: Hell pt. 4-6
    Ghost

    C: Ratcatcher
    The Afterglow

    D: "secret" untitled drone piece 1 /2 ( as today)

    Tour 7"
    A: Hell pt 7 (live - video version)
    B Entropy (7" edit)

    The fragments work as it is, a bunch of ok- to ok+ leftovers in excellent packaging.

    Here Be Monster 2LP
    Gets expanded to include the actual song and Go `round Once.

    The Tower LP
    A: Intrepid Explorer
    In every dream house
    The Maypole

    B: A pacific sonata
    ASEF

    Bartok of the Universe EP
    A: Bartok of the Universe
    Psychozar (3 min edit)
    Lux Aterna ( 2:30 min acoustic lo-fi bedroom version)
    B: The crucible ( this song now stops after 15 minutes)

    The All is One LP
    A:Dreams of Fancy
    The Downser
    NOX2

    B: NOX4
    The Magpie

    For the Tour: The Same old Rock B/W Delusion 7"

    Kingdom Of Oblivion LP
    This is quite fresh, andI think I quite like it.
    Anyway, the perfect version I think would be

    At Empires End
    The United Debased
    Dreamkiller
    Waning pt2
    Lady May
    A wankless Much Shorter Transmutation of the Cosmoctpus Lurker
    Kingdom of oblivion

    The Waning 10" EP
    Collects the instruments, The waning pt 1, the watcher and the the hunt

    Posted 3 weeks ago #
  5. Johnny_Heartfield
    Member

    @ Elvin: "The Watcher" as the darkest KOO number belongs to the LP version I think. Emphases the atmosphere

    I'd suggest a final EP/Mini-Album in Barracuda Style with folk (-rock) tracks only. Probably one or two additional ones. I'd love that!

    Posted 3 weeks ago #
  6. GBD
    Member

    Ok i'll play alittle: Even though i really like the sequencing of KOO, it could have been interesting to regroup it as a half and half album. With the folky/mellow stuff on album 1 which finishes with Dreamkiller, and the hard hitters on album 2, finishing with the Lurker.

    Posted 3 weeks ago #
  7. shakti
    Member

    I will have to think about sequencing and such, but a few thoughts on the RG era albums:

    Little Lucid Moments
    Child of the Future
    Heavy Metal Fruit
    The Death Defying Unicorn

    I would leave these as they are. LLM always felt a little unfulfilling to me, with the suite feeling a bit like three separate songs just strung together, She Left on the Sunship meandering in the second half and so on. In a way, I think this is where their self-editing started to lack a little and some LPs started to feel a touch bloated, but there’s nothing in particular I would axe. These albums are all fine as they are, some more succesful than others.

    Still Life With Eggplant
    Behind the Sun
    The Motorpnakotic Fragments

    Some serious editing and re-sequencing is in order here. I agree that the Motorpnakotic Fragments actually work quite well as a way of rounding up the material in a way that the EPs did in the 90s and early 00s. But I miss those EPs as they could be a home to tracks that didn’t quite make the cut for an LP. Either because they didn’t fit thematically or musically, or if it was a cover song, or if it was a weird one (Geb tracks) or if it just wasn’t quite a standout song, I feel that some songs on more recent albums would have been better off on an EP. It might shine in a setting like that, whereas it gets lost on an overly long LP. IMHO, many of the KOO tracks are like that.

    In any case, one EP from the 2013-14 era that this particular executive producer and label head would demand, was a Hell pt 1-7 EP (almost more of a mini-album). I think that would make a really cool stand-alone release.
    Still Life With Eggplant would never exist. Instead we would have a Behind the Sun album minus Hell pt 4-7 but featuring Barleycorn, The Jig Is Up Mockingbird and Forget It, maybe a few more (need to revisit this material and think about the sequencing). That would make it a fairly light, breezy and melodic album, a nice contrast with the Hell EP. Lead-off single would be Cloudwalker, also released on an EP like in the older days, with Whiskey and Rock and Roll (the fun number), August and Future of Our Nation (the cover songs). Ratcatcher, Dominoes and a few more would never see the light of day until the 20th anniversary reissue boxed set.

    En Konsert For Folk Flest
    Here Be Monsters
    Begynnelser

    I would leave these as they are. EKFFF obviously exists on its own terms. HBM...well, nothing can save that turd. Ok, ok....add the title track to make the misery complete, and maybe axe Spin Spin Spin as that is a typical EP track. Begynnelser is a weirdo collection anyway so doesn’t need any editing.

    The Tower
    The Crucible

    These two are perfect as they are. The Tower is a warts-and-all type album (with very few warts), it feels urgent and necessary and drivne all the way through. Nothing should be added or removed. The Crucible is similarly strong, solid as a rock but just missing the last X factor to make it a true standout album. Nevertheless nothing needs to be changed,

    The All Is One
    Kingdom of Oblivion

    The obvious thing here is to release N.O.X. on its own. It deserves and needs full attention and is so different from the rest of the material here. I love it to bits. The next album after that would be Kingdom of Oblivion (or alternate title The Waning. I really need to take a little more time to think about how best to combine the material from TAIO and KOO for the best result. I have decided the title track from KOO needs to be in there. It’s strong enough to deserve a spot on a double album, but in its current incarnation I think it has to carry too much weight, it’s not quite that strong.

    Rough track listing suggestion, this needs more work to get the proper flow and I might have to find room for The Hunt and Delusion (The Reign of Humbug) somewhere:

    Side A:
    The Waning (minus part 2)
    Kingdom of Oblivion
    The Same Old Rock

    Side B:
    The Magpie
    Lady May
    The United Debased (with drastically different production and edited slightly)

    Side C:
    Dreams of Fancy
    At Empire’s End

    Side D:
    A Little Light
    The Transmutation of Cosmoctopus Lurker
    Like Chrome

    That leaves some material for an EP, either a stand-alone one (title track The All Is One perhaps?) or as a lead-off single (The Waning?). The Dowser, The Watcher and Dreamkiller would be on this EP. The former as the «Bent alone in his apartment» type track (it’s not quite that, but it serves the same purpose) and the latter two as both a cover song and a stranger kind of track that I don’t think works at all on the album, but might shine on an EP.

    Posted 3 weeks ago #
  8. Kid A
    Member

    Mind that they did a proper EP with the leftovers of The Tower, the California EP.

    Posted 3 weeks ago #
  9. Aki
    Member

    If the band sees this post, they will be very sad.

    Posted 3 weeks ago #
  10. mikke
    Member

    its a bit simpler to compose releases if you dont have to create them in the first place and then any how release them years after their creation. like performing great after the gig is over. it has no value.

    Posted 3 weeks ago #
  11. shakti
    Member

    I doubt that the band are very concerned that a few nerdy fans are having fun rearranging their albums, Aki.

    And of course it’s easier in retrospect. But nevertheless I would make a case that their editing decisions in the 90s were better than recently, or so it would appear, Case in point; Timothy version 0 that was never released in favour of the vastly superior end result. Or leaving the When the World Sleeps material in the vaults. Or rearranging and remixing the original Blissard. All of these decisions led to much better results either by leaving out material or remixind and re-sequencing.

    I gave my own «Hell» mini LP a spin this morning, and that would have made a great release, mixing the sludgy stoner-y stuff with the etheral, progressive and melodic and finally the brutal, tight and punchy ending, showing off all their sides in one neat suite. My re-imagined Behind the Sun would then make a nice «return to the songs» after the heavy and somewhat pretentious concept albums (Death Defying Unicorn and Hell).

    Posted 3 weeks ago #
  12. Punj Lizard
    Member

    Is anybody here ready to start talking about all the filler on Demon Box, Timothy's Monster, Blissard, AADAP, and Trust Us? I mean, how much better would TM have been if it was just Giftland, Watersound, The Wheel, Sungravy, and The Golden Core? All the rest of the stuff could then have just been released on EPs every month or two. How does that sound? Yep ... sounds like the worst idea ever doesn't it.

    Posted 3 weeks ago #
  13. Johnny_Heartfield
    Member

    @ shakti: watch your fuckiing language
    HBM: I love that "turd" - I consider it the best thing to come since god knows when - HMF probably. Of course there was new - and arguably even better stuff - following soon.

    Hell mini-LP is a very good idea - especially as a Roadwork IV 1/2 live "Hell" album!
    Probably the Düsseldorf version with the thunderstorm raging outside...

    Posted 3 weeks ago #
  14. Punj Lizard
    Member

    I love what Geb wrote in his piece on Black Hole / Blank Canvas for the Supersonic Scientists book. It could be relevant to any of their albums:

    But damn it - can't they ever try brevity? I'm left with a feeling of exhaustion; this is just way too much motorpsychosis for me. It sounds like the box set version of Black Hole / Blank Canvas, with every outtake and demo they had lying about. The box set that should've come out years later. I can imagine a 40 minute version of this album - a stone cold classic. But that just wouldn't be Motorpsycho.

    Posted 3 weeks ago #
  15. Elvin
    Member


    Posted 2 weeks ago #
  16. Elvin
    Member

    @aki @mikke I also doubt they d be very sad, I think it shines through that it is all done with love. They probably do the same with their favorite records, being the music geeks they are.

    @punj Great Geb quote. I totally agree - First half is fantastic, second truly feels like a "bonus" disc. Also: The reason there`s no need to discuss fillers on TM, Blizzard etc is because there aren't any and as @Shatki pointed out: they already did the weeding out them selves

    Posted 2 weeks ago #
  17. Punj Lizard
    Member

    @Elvin - I love that chapter by Geb. One of my favourites in the book. He's so straightforward and doesn't pull punches. Personally I like BH/BC a lot - both discs. As for TM etc., I was, of course, just having a laugh, but also I guess trying to point out that some people might actually find the later albums fine but the earlier ones overdone - in some respects it's just a matter of personal taste.

    Posted 2 weeks ago #
  18. JERO
    Member

    I wouldn't change anything neither. Every album is like a person from the same family, and I love them all, warts and all (well maybe It's A Love Cult and Phanerothyme are the cousins locked away in the cellar) and what happened to me a lot of times is that they played a song from my personal 'warts-section' live and finaly (re-)animated it so that I had to get back to play it from the album and finally got to love it (for example Uberwagner(or Triggerman). So hey, what do you know, following MP resembles time-travelling in the Tardis, a lot, (says Who, hehe)

    Posted 2 weeks ago #
  19. suntripper
    Member

    I think you make a lot of good points, Shakti. I wouldn't want to tinker with the past too much, although I've often considered making my own compilation of concise hard rock Kenneth-era tracks comprising all of Child of the Future plus The Promise and the best bits of Motorpnakotic Fragments and The Light Fantastic. What a hard-hitting double that would be!

    However, I do think recent material would have been better served by having N.O.X. as a stand-alone album, perhaps with the addition of something in a similar vein - or maybe those heavy parts from Begynnelser that inexplicably didn't make it onto the audio version.

    @ Kid A: I was sort of with you until you wanted to leave out The All Is One side D. I think that's good stuff - maybe suffering from following on from N.O.X. The reverssion from something so radical and original to something belonging more to the classic rock genre might work live, but it diminshes what follows on disc, which is a shame. In a different context, Dreams of Fancy might garner rave reviews. Personally, I think it is a brilliantly constructed composition. If there's a bit of late Led Zep to it, I would say it could grace any of their later albums. Like Chrome is pretty fair too (also a touch of Led Zep there).

    @JERO: "the cousins tucked away in the basement" - that tickled me!

    Posted 2 weeks ago #
  20. Aki
    Member

    What I'm trying to say is that I think it's perfectly fine for the listener to enjoy reconstructing the work on their own.
    But to say, "This album should have been composed of only this suite. “ etc…
    I was very uncomfortable to read that kind of talk.
    If it's an "ideal live set list", I'd like to see a lot of opinions from everyone.

    We listeners are the ones who are given the artist's work, and I'd like to see a little more thought put into why the work was created the way it was. Even in the thread of the latest work, I was fed up with the excessive criticism of the old listeners.

    I'm not a native speaker of English, so I'm writing this through a translator, but I hope it conveys the nuances I want to say.
    I'm not saying don't criticize, I'm just suggesting that the residents of the official forum can appreciate the work a little more modestly and respectfully without being arrogant.

    Posted 2 weeks ago #
  21. Paolize
    Member

    I agree with you, Aki. I love all of MP albums in their entirety (even the "pop-era" ones, especially "Phanerothyme"). If I have to be completely honest, the only thing I would change is NOX's position on "The All Is One" tracklist, but that's just a detail.

    Posted 2 weeks ago #
  22. shakti
    Member

    I think I understand what you’re trying to say Aki, and you make a fair point. There is (presumably) a very conscious decision by the artist to present the work in the manner it is released. And as a listener, we have to make an effort to try to understand that, I have done that very thing with TAIO. I’ve asked myself many times why they chose to present N.O.X. the way they did, sandwiched between much more conservative material.

    But nevertheless I think it’s a valid criticism to point out when I think the artistic choices are working against the material, which is essentially what I am driving at here. I think some of the recent tracks would work better in a different context, and that’s a bit of a shame IMHO.

    As I pointed out, there are albums I wouldn’t touch, even if they are not among my favourite ones. The vast majority of their albums are like that, it’s only really the last two and the 2013-14 era I think would have been better served by a different presentation. Well, I guess It’s a Love Cult only has enough good material for a single album, but that would have been a great album, perhaps I’ll compile that next.

    For the record, I am appreciating KOO a little more than I did at first, but I still don’t think it flows nicely as an album. The Thomas era has been fantastic so far, so these are really minor quibbles in the grand picture. The amount of great material the last 3-4 years is staggering.

    Posted 2 weeks ago #
  23. GBD
    Member

    But nevertheless I think it’s a valid criticism to point out when I think the artistic choices are working against the material, which is essentially what I am driving at here

    Like you pointed out, that's your opinion. I find the placing of NOX to fit perfectly with the rest of the material. With the material preceding the suite creating a growingly darker mood, then NOX in all its twisted glory, a little light and we're back to the lighter side of things. Guess it goes to show that a band can never please everyone. And so one should trust that their sequencing was what made the most sense to them, and leave it like that 😀

    Posted 2 weeks ago #
  24. shakti
    Member

    I revisited the IALC material today (album and Serpentine EP). First thing that struck me was how nice it sounded (from a sound quality point of view). I always quite like IALC even though it was hated by many when it was released. I thought it was generally much better than Phanerothyme, but there were some puzzling choices.

    The vinyl release has very short album sides, and that is part of the reason why it doesn’t flow well, but even on the CD it really struggles to build up any steam or reach any cohesion IMHO. Then there are some real stinkers. What If... and Composite Head just stick out like very, very sore thumbs. Neverland was never one I liked much either, but in my reimagined album it stays to add some spice. So here’s how I would do it; axe Circles (nice track, but feels unfinished and kills the album almost right from the beginning), Composite Head and replace What If with Little Ricky Massenburg as the Geb track. Then resequnce like this for a single album:

    Side A:
    Uberwagner
    This Otherness
    Little Ricky Massenburg
    Carousel

    Side B:
    Neverland
    The Mirror and the Lie
    Custer’s Last Stand
    Serpentine

    Posted 2 weeks ago #
  25. Aki
    Member


    Posted 2 weeks ago #
  26. grindove
    Member

    Rant alert!

    I feel spoiled being a Motorpsycho fan. I think their creativity is amazing and the release pace now is perfect! According to me, there has always been less good songs on their albums - sometimes one, other times a few. I could easily remove tracks from "Demon box", "Tim's monster", "Trust us", "LLM", "HMF", "HBM", "The tower", "TAIO" etc, to make them more solid and even better than they already are - for me. But nothing points in the direction that the band (or the majority of you psychonauts) would choose to ditch the same material as I, so I'd rather have them as they are - with (for me) a few fillers - and see this flow of massive albums continue, than to wish that MP restricted themselves to shorter and fewer releases.

    Sure, if I ever start using Spotify for real, I'm sure I'll rearrange quite a few MP albums for myself, but I don't have a smartphone, and at home I spin the vinyls.

    Some of you sound as if putting "NOX" in the middle of "TAIO" was something that just happened without much thought. I'm pretty sure of the opposite - that they really wanted it to feel inconvenient, unpredictable, nontraditional and maybe even slightly weird. It works fine for me (even if I every other time start with side 4, followed by 1, and finish with "NOX").

    I give up on most bands/artists after they disappoint me with an album, but when it comes to MP I know that it's still worth checking out next release, because maybe they've steered onto a different course, which keeps it exciting in itself, OR it might sound similar but with songs that simply appeal more to me, which definitely is good enough! A new MP album is always one of the highlights of the year here!

    And what do I want next album to be like? Heavy? Prog? Pop? Metal? Psychedelic? Stoner? Hard? Soft? Long epics? Short to-the-points? I don't care! As long as the songs appeal to me, I really don't care which style it happens to be. Just "doing the genre" is absolutely no guarantee it will be good. Oh, hey, I always hope for NO COVERS on their albums. I hope for the same every time I see them live. I want 100% Motorpsycho!

    OK, sudden end to this harangue:
    Still my all time favorite band, and "KoO" really is awesome!

    Posted 2 weeks ago #
  27. @grindove: I couldn't say it better for myself. Now some songs on KoO start growing to me that did not really do it in the beginning. And I went back listening to TAiO yesterday and discovered how great it is to let an album lay for a while and then return with a changed view and personality. Then its a very new and different journey. I am still so excited about that band.

    Posted 2 weeks ago #
  28. otherdemon
    Member

    Too many albums? Sounds like a luxury problem to me.

    Sure, I don't like every single note they've ever put out. But those
    occasional flaws just makes the masterpieces hit harder.

    I wouldn't change a thing.

    Posted 2 weeks ago #
  29. supernaut
    Member

    As Punj said, if we want to go there then these "issues" apply just as well to their classic 90s albums. But no one ever thought so, back then and nowadays. I guess thinking this way about their more recent albums now comes from overdosing on too much music piling up.

    Might those who edit the albums for cohesiveness miss the point? Regarding music critcism I often stumble over the term "cohesive" as a positive quality. Something I don't get. What's good about cohesiveness? It's a construct instinctively associated with "good" without second guessing. The "all killer no filler" idea doesn't apply to art imo. All the little breathers found on Demon Box, TDDU, The Tower and KoO make the big songs truly stand out. That's their role and function. I guess that's how MP compile their albums on purpose. It's a tapestry, a caleidoscope. Listen without fear and most of all: patience.

    When I put music on my phone to take out onto the beaches, I do edit some albums by some bands. But not one single Motorpsycho record, although I did rearrange the sequencing on a few. Behind the Sun is a great record but has an odd sequencing to my liking, especially the first four tracks.

    Back to cohesiveness. For example on The Tower we'd have:

    The Tower
    Bartok
    Dreamhome
    ASFE
    Cuckoo
    Ship of Fools

    or Demon Box:

    NTS
    Feedtime
    Gutwrench
    Sunchild
    Mountain
    AIL
    Demon Box
    Babylon
    Junior
    Plan #1
    Sheer Profoundity
    WFTO pt2

    Both still great albums this way. But the magic's gone.

    For TM, there's the single CD version and the unreleased original album in the 4CD box. Anyone prefers one of those to the proper release as we know it?

    I only have ONE EXCEPTION! Here Be Monsters should be:

    Big Black Dog
    IMS (btw one of my all time fave songs!!!)
    Here be Monsters pt 1 & 2

    The other tracks I left out because I don't consider them necessary and/or welcome atmospheric fillers. I just don't like them that much.

    Anyways, I think these thoughts are absolutely legit and fun - don't get me wrong there - but they come from a conservative point of view how albums should be. And that's what MP don't give a crap about and therefore are what and who they are. Maybe that's even why they're not on a big biz major label.

    Posted 1 week ago #
  30. cloudhawker
    Member

    As Punj and supernaut says.

    Very good points about lack of cohesiveness, variation and flow on albums. Sungravy as a stand alone track may not be in the top three category, but it is exactly what you need there and then: To go straight from the The Wheel to Grindstone on TM would be too much. And you absolutely need the calm and acoustic Delusion and A Little Light to cleanse you palate and take a deep breath before NOX and to come down and catch your breath again (or to get a little light) after. Generally I find their album sequencing and variation spot on.

    Another interesting point is the one of saturation. Some people seem to struggle to appreciate Kingdom of Oblivion as it sounds too familiar to the Gullvåg trilogy, it came too soon and so on. The lack of appreciation of latter-day MP seem for some to be reinforced by the fact that the typical MP songs these days are not short traditional songs but parts stitched together or a stream of indistinguishable riffing, jamming and progging. Underdeveloped, aimless and pointless, and lacks the urgency and directness of the youthful 90’s work some ppl lamented somewhere on these forums. (Not me, it doesn’t ring true with me at all.)

    But anyways, it got me thinking a little bit. I am wondering if the “aimless, pointless and lack of urgency” is a consequence of the song writing process. A little while ago I listened to Torgny Amdam’s podcast ‘Lage musikk’ (‘Make music’) with Bent. It is only in Norwegian so I am not sure to what extent what’s said here have been repeated to non-Norwegians. Here Bent talks about the song writing process of the last 5-10 years. It goes something like this: Typically Bent will sit down in front of the telly with an electric guitar or keys and record on his phone until the voice memory (and his head) is full of sketches, chords, riffs and ideas, text lines maybe. This will obviously have no premeditated idea of direction or style, nor any self-censoring. He will then go on to work out demos on Pro Tools, developing the material and piecing parts together. According to Bent, putting the different parts together is an intuitive process, he ‘knows’ when the song is right and when there’s a record there. Every now and then Bent is stuck and may involve Snah to get additional input to get unstuck, add new pieces, glue pieces together. He refers to making music as research or exploration.

    Bent specifically says that the method now is different from the writing process in the 90’s which was much more classical song writing. Bent also states that he is bored of what he refers to as the Beatles school of song writing (short, conventional, “perfect” pop songs) and feels that there is not more to get from that for him personally or in music generally. Been there, done to death, moved on.

    And what else can you do other than to respect that?

    Posted 1 week ago #

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