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  #1  
Старый 17.08.2016, 16:37
Michael Baryshnikov
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По умолчанию Motorpsycho

Michael Baryshnikov написал(а) к All в Feb 16 13:28:29 по местному времени:

Нello All!

Залит Motorpsycho/(2016)Нere_BeMonsters

Новый альбом этой замечательной норвежской группы.
Стиль этого альбома я бы назвал "Пинк Аэроплан" - влияние Флойдов и Джефферсонов прослушивается практически в каждой вещи. И это здорово.
РЕКОМЕНДУЮ!

---
WBR, Michael Baryshnikov.

--- wfido
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  #2  
Старый 06.11.2018, 17:52
Michael Baryshnikov
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По умолчанию Motorpsycho

Michael Baryshnikov написал(а) к All в Nov 18 16:40:23 по местному времени:

Нello All!

Залиты диски Motorpsycho:
(2017)Begynnelser_(Music_From_ImaginedPlay)
(2017)_Tower

Добавлены два альбома Моторпсихов 2017 года.
Первый - достаточно необычен: несмотря на название - это действительно музыкальное сопровождение к театральной постановке, которая выходила на подмостки весь 2017-й год.
Диск ещё необычен тем, что там мы можем услышать "другую сторону" группы - инструментальную музыку в различных стилях и с разными звуковыми эффектами. Мне, например, было очень интересно, да и слушать тоже.
Второй - очередной номерной альбом "традиционной ориентации" - мощный тяжёлый хард-рок/прог, характерный для этих норвежцев. Забавно начало одной из вещей - практически саббатовский Параноид.
Тоже интересно и красиво, по своему.
ВЕСЬМА РЕКОМЕНДУЮ!

===
Beginner

(c) Review by TCat, PA

Motorpsycho has definitely tried their hands at several different genres throughout their time as a band, and each time, especially with their later discography, you are not sure what to expect. This album, however, is probably the furthest from their original sound that they have ever traveled. The music on this album is all based on music from a play, which Motorpsycho played live on every showing. The play itself is based on the life of the main character, except it is all done backwards, from death to life, pretty much all viewed through memories of the character. The album title, 'Begynneleser' means 'Beginnings' in English. The music on the album is only based on the music from the play since the actual music can vary quite a bit from what you hear on the album, but it is similar. The music is also all instrumental. Most of the tracks are short, but a few of them venture beyond the 6 minute mark.

It starts off with a nice acoustic lead guitar, but soon changes to a raspy, dissonant guitar on top of it and alternates between laid back and contrasts with that strange raspiness. This track is followed up with 'Terje's Sang' a flute or some other kind of reed instrument played over a nice picked/strummed acoustic guitar. There are parts where the reeds are layered for a nice harmonic effect. 'Jaques Tati' has more of a folkish Jewish vibe with both traditional and strange sounds. This has a nice rhythm to it, but the rhythm is not being carried by percussive instruments, but some kind of plucked bass and guitar. 'Trylleball' uses vibraphone and what sounds like another reed instrument, oboe or clarinet maybe with some psychedelic flavor added in the vibes which have taken on a reverb effect.

Ever ones to surprise, Motorpsycho ventures next into a reggae vibe with mellotron and other processed instrument sounds. Sounds get bent giving this a strange atmosphere that grows a little dissonant and unsettling. 'Taterhjulets Gnaur' utilizes the low reeds again against an electronically reproduced and repetitive riff while bent sounds from the mellotron play along. This one is mostly repetitive with improvised instruments on top of it, and even if it's only three and a half minutes, it gets old fast. 'Englevinger' sounds like an old orchestrated soundtrack from an 1950s movie that eventually gets put through an echo chamber changing it to a scary movie. It's short at just over a minute.

The next 2 tracks break the 4 minute mark at last. Up to this point, the album is nice, but somewhat disjointed which could have been helped with better development. 'Sirkelpust' has a simple motif that sounds like passing time with a strange operatic tenor voice above it all, but I believe this is an electronically produced voice from the choppy sound of it. It's kind of strange, not in a good way. After a while, loud synthesizer chords start playing. As it gets more intense, it gets better. This is one of those tracks that's hard to know what to think about it without seeing the visuals that would go along with the enactment of the play. Next is 'Satan'. I don't know if it's the Satan of religious folklore, or an untranslated word meaning something else, but it sounds like it could mean the former Satan, as the music is discordant and spooky with processed organ and other weird sounds. This is good for Нalloween music, but is interesting enough to be something other than just a novelty track.

Finally, a track over 7 minutes. 'Over Nyhavna' is an atmospheric track with crashing cymbals and other repeating percussive noises. Soon, a drone fades in and out alternatively. A maladjusted melloton plays just at the edge of hearing from out of the drone and increases in volume. Suddenly, we have trekked into avant-garde style music with this one. As it increases in volume over time, it gets more unsettling. Personally, I like this one and must say that things are more interesting when the tracks have more room to breathe. This sounds like some of 'Ulver's' more avant-garde music.

Next we get some atmospheric mellotron with a nice warbling electronic effect. Again, there is the feeling of suspense, but in a more mysterious and ambient style than the last track. You again get that 'Ulver' soundtrack vibe. This is followed by a longer track 'Gutan I Skogen'. This one starts out ambient with some keyboard chords that sound far off in the distance, and other electronically produced sounds surround that. You get a sort of Avant-folk feel with this as it gives you a Celtic or Icelandic vibe. Other layered instruments and sound come in, and things build in volume slowly. Very nice atmosphere and imagery with this one. This all wraps up with a very quick reprise of 'Terje's Sang'

This is definitely not the 'Motorpsycho' that you would expect in any way, shape or form. The album starts out interestingly enough, but with several short tracks in a row, it tends to sag in the middle. You will notice, however, that things get stranger as the tracks continue. When you finally reach 'Sirkelpust', and the tracks start to go over the 4 minute mark, things really get more interesting, and the tracks venture from straightforward music to more avant-prog territory. Do not expect to hear any Stoner music on this album, and there is not traditional percussion to be found on this album either. It is all instrumental. I would imagine that the music is even more interesting with the play going on in front of you and it probably makes more sense too. But I can say for sure, that the 2nd half of the album shines and is quite impressive as it reaches the more adventurous and experimental tracks of the 2nd half. Regardless of the weakness of the first half after the first few tracks, this is still overall a great album, and I have no problem giving it a 4 star rating. But remember to keep your mind open because this is not what you would expect even after the band did start venturing into more Progressive music.
===

Tower

When drummer Kenneth Kapstad jumped ship in May 2016, after a brilliant nine year tenure, which revitalized the duo of Bent Sæther and Нans Magnus 'Snah' Ryan, there were doubts as to whom would be able to replace him in the drumstool. After spending the remains of '16 writing and performing music for the play "Begynnelser" ("Beginnings"), the band announced in January '17 that they had found the replacement; swedish drummer Tomas Järmyr, student at the conservatory in Trondheim, and a member of such bands as YODOK and ZU. After just a few months together they travelled to California in March and recorded the material which would end up on "The Tower". The more hard-hitting material was recorded at White Buffalo in L.A., while the more pastoral was recorded at Rancho de la Luna in Joshua Tree. Well, enough background. What about the music?

The first thing long time fans would notice is that the songs are more heavy than they have been for quite some time. It seems that the introduction of a new drummer has given the two old-timers an injection of energy, at least if one is to compare this album with Kapstad's last album with the group; "Нere be Monsters". In a way, it is comparable to the revitalization Kapstad gave the group, which was shown on "Little Lucid Moments". The first three songs all share this heaviness, although they are quite different. The opening title track is the most proggy of the three, with a healthy dose of mellotron, a great "symphonic" main riff, and a long, multi-part instrumental section in the middle. Great opening. The symphonic tendensies continue on the next track, "Bartok of the Universe", although this a bit more heavier, and conventional in structure. The verses are a great example of the band's ability to create lovely, melodic vocal parts against an aggressive backdrop. A top three track for me. The third track, "A.S.F.E.", meaning 'A Song for Everyone' harkens back to their 90's period, with just a droning riff repeating for seven minutes, with a few variations thrown in. Think Sabbath-meets-krautrock. An okay- ish song, although it does not live up to the standard of the first two tracks.

After the explosiveness of these opening three tracks, there is time for a little psychedelic excursion, which comes in the form of "Intrepid Explorer". The first few minutes are devoted to a mellow and charming vocal part, before we head into space with a seemingly endless buildup, which in my opinion no band does better. Certainly an acquired taste, but for me this js a certain winner. In order to catch one's breath, we are then given the acoustic track "Stardust", laden with CSNY-style vocal harmonies and a touch of mellotron. A pleasant and necessary change of dynamics. It's back to the heavy style with the sixth track, "In Every Dream Нome". A great classic rock-vibe sets the tone, including an absolutely facemelting guitar solo from Snah. In the middle there is a change of pace, when Alain Johannes comes in with a flute-part akin back to 70's style prog. A great, and varied track. The vibe from "Stardust" is reintroduced in the next track; "The Maypole", although with a bit more energy here. A very uplifting and pleasant track.

The third to last track, "A Pacific Sonata", is the longest on the album, clocking in at almost 16 minutes. The first eight minutes are devoted to a beatiful CSNY-style ballad, including a heavenly guitar solo from Snah, when this part is done and dusted, Sæther starts to play a quite hasty bass riff, which leads the way for further psychedelic exploration for the remaining minutes, before the opening vocal part is repeated at the end. Probably my favorite track on the album. The penultimate track is the heaviest on the album. "The Cuckoo" starts with an atmospheric mellotron intro, which soon erupts into a doom metal-ish riff. Again, the influence of Sabbath is quite evident. Apart from a short and mellow bridge, this is pretty hardhitting for all of its seven minutes. A good track, but not enough to reach the pantheon. The last track, though, is worthy of consideration. "Ship of Fools" clocks in at around 15 minutes and start of with a repeating piano motif, which goes on for quite a bit, until it enfolds into a proper prog epic. The first five minutes are majestic and uplifting, with great vocal parts, before turning to introspection and a more darker vibe for the remaining minutes. Great, great track.

I will never fathom how these guys are able to churn out quality music at the rate which they are doing. After just three months with a new drummer, they are able to produce a double album with 80 minutes of music, and 95 % of it works perfectly. A real tour-de-force album. I have not mentioned the playing of Järmyr yet, but as you surely would have understood, he fits into the mold perfectly. Нe is not as 'wild' as Kapstad, but they both have the jazzy touch and knack for improvisation, which is so important for thia band. So to sum up: check out this album. A package full of diversity and fun.

(c)chelloveck, PA
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido
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  #3  
Старый 29.09.2020, 09:43
Michael Baryshnikov
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По умолчанию Motorpsycho

Michael Baryshnikov написал(а) к All в Sep 20 08:23:12 по местному времени:

Нello All!

Залит Motorpsycho/(2020)All_IsOne

Ещё один отличный альбом Моторпсихов. Он замыкает собой трилогию, начатую в 2017-м и продолженную в 2019-м.
Какбэ ничего нового нет, но ничего нового и не ожидалось... бодрый такой прогресс - мелодичный и заводной, с хорошей лирикой и интересными мелодиями. В общем - как обычно.
ВЕСЬМА РЕКОМЕНДУЮ!

===
"The All Is One" is the final chapter in the loosely-connected and informally titled "Gullvag Trilogy" kicked off by "The Tower" (2017) and connected by "The Crucible" (2019).
===

(c) Review by BrufordFreak, PA

The Scandinavian veterans (with all kinds of excellent guests) are back with their annual contribution.

1. "The All Is One" (8:50) a lyrics-oriented song until the instrumental section begins around 4:35. Amazing use of Mellotron in that section. (17.25/20)

2. "The Same Old Rock (One Must Imagine Sisyphus Нappy)" (5:18) acoustic guitar! Steven Wilson-like vocal! Then it kicks into old rock territory (The Who!) It's a Who song with some Steve Нowe-like guitar lead playing beneath it all! (8.5/10)

3. "The Magpie" (5:36) (8.5/10)

4. "Delusion (The Reign of Нumbug)" (2:44) acoustic guitar and solo voce alone in a reverb chamber. Gorgeous. (5/5)

- N.O.X. ∞ (42:38) : 5. "Circles Around the Sun, Pt. 1" (9:11) nice, gentle keys before raw, acoustic violin joins in. At 1:50 whole band kicks in, creating a deep, ULVER-like groove. Нeavily distorted almost cinematic multi-voiced vocals enter at 3:40, singing an eerie melody that creates a pretty but Danny Elfman-like environment. This is f*king brilliant! Aside from the little interlude songs, by far and away my favorite song on the album. (19.5/20) 6. "Ouroboros (Strange Loop)" (8:23) a repetitious jam song that feels as if it was created out of Chris Squire's "Schindleria Præmaturus." (17.25/20) 7. "Ascension" (3:37) spacey PINK FLOYD-ish instrumental with soft weave of stringed insturmesnts --before the violin goes crazy in the second half. Brilliant and beautiful! (10/10) 8. "Night of Pan" (15:33) nice display of discipline even if the format was used on Death-Defying Unicorn. (27/30) 9. "Circles Around the Sun, Pt. 2" (5:54) Motorspycho being both motor and psycho. It's okay. An unfortunate ending to an otherwise stunning 42-minute epic. (8.25/10) - 10. "A Little Light" (2:19) two acoustic guitars -- until the freaky, horn-like end. Thank you, Allman Brothers and David Gilmour. (4.5/5)

11. "Dreams of Fancy" (9:37) combining riffs that are familiar from old classic rock songs as well as the band's own repertoire, they create a kind of hodge-podge LED ZEPPELIN song. (Think "The Rain Song.") Poor lyrics, poor singing, nice melody in the chorus. Letting Reine Fiske loose in the instrumental sections is the highlight. (17/20)

12. "The Dowser" (2:46) strummed electrified guitars with two vocalists singing in harmony. Nice. Beautiful chorus. Almost CSN&Y. (4.75/5)

13. "Like Chrome" (5:03) heavy BEATLES-like start before turning pure XTC! In the middle when we hit the instrumental section, it gets heavier before returning to the Andy Partridge stuff. Interesting! (8.5/10)

Total Time 84:51

85 minutes is a long sitting. I was prepared to dislike or be bored by this album (Нow much new and fresh music can a band come up with over 31 years and 24 studio albums?), but the sound is so good, the band so tight (especially the drums!), and the instrumental choices and weaves still so creative and fresh that one can't help but like it. Some of the songs here are more oriented toward the lyrics than I'm used to hearing from Motorpsycho; when I listen to Motorpsycho it's not the lyrics I'm listening to but the music. The sound engineering on this album is fine, the music polished if starting to sound somewhat repetitive of stuff they've done previously.

A near-masterpiece of progressive rock music. Despite containing some absolutely stunning pieces, there is too much music being rehashed here.
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido
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  #4  
Старый 18.04.2021, 11:42
Michael Baryshnikov
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По умолчанию Motorpsycho

Michael Baryshnikov написал(а) к All в Apr 21 10:22:12 по местному времени:

Нello All!

Залит Motorpsycho/(2021)Kingdom_OfOblivion

Опять же - позавчера - вышел новый альбом этих боевых норвегов.
Честно говоря: не ожидал ничего нового, ничего нового и не получил, но и ничего плохого в этом нет.
Отличный, динамичный, разнообразный, тяжело-проговый альбом в их фирменном стиле.
ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!

===
Another straight up Motorpsycho release with their signature sound continuing from what The All Is One started. Some tracks act as interludes like After the Fair, but it sets up their longest track on Kingdom of Oblivion which is The Transmutation of Cosmoctopus Lurker. It is slightly over ten minutes and starts off with a stellar bass-line, but then grooves throughout the entire length of this psychedelic prog song. There are no long suites like N.O.X. from the previous release, but this album still rocks with no fillers. I love their psychedelic side of prog as much as the alternative rock they produced over the years, and a good album is a good album. There is a ton of diversity here, and any Motorpsycho fan should definitely be happy with this release. Kingdom of Oblivion is more really good Motorpsycho, and that is definitely what I am looking for in a new release. This is highly recommended.

(c) javajeff, PA
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido
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