Motorpsycho

[PlanetHarrieR]

Du musst dich an den Ausflug hängen, auf dem du bist!

[Reinforced]

Du musst dich an den Ausflug hängen, auf dem du bist!

word

[zwirrlibatz]

chönnts nid besser säge.

[zwirrlibatz]

"Yes, a new album at the beginning of 2012 - the exact date isn't set yet."


"I'm listening to some totally wild new Motorpsycho tunes right now #gottahaveafewperks #magnificent #whoa #snahreallyisgod"

[kraut]

oh es nöis album vo motorpsycho. was fürne überraschig

[zwirrlibatz]

das wird dänn 2 jahr her sii sit em letschte, für die en ewigkeit.

[kraut]

so lang isch här??

[zwirrlibatz]

yup, wemme d'2011 liveplatte nöd mitzellt. grad i de 2 jahr vorher hetts no 3 platte gäh. aber im offizielle phorum isch au extrem ruhig. ganz neu sowas.

[zwirrlibatz]

Wow. I'm back home after this experience. Because this wasn't just a concert. It was an experience. The sound was amazing, the lighting show was even more amazing, and the music was truly spectacular. And almost eerily appropriate in a giant, majestic church. I'll try to describe the event with words. I might fail, but I'll try.

I sat behind the soundboard, to the right. I couldn't see very much, but MP had their equipment set up up on the balcony next to the insanely huge organ. After some initial announcements, Bent & Snah came quietly on stage. I quickly saw that Snah strapped on a double neck guitar. Wow, that's new! And what does it mean? Soon thereafter, a quiet soundscape began, the volume slowly rising, drums coming from *behind* us (and the drum set next to the organ showed no signs of movement). The lights were flashing, and it didn't take long before I was imagining being on a large, dark field, engulfed in a gigantic thunder storm. That's the kind of mood this this music (and lighting) conveyed to me. Thunder, lightning, darkness, brutal, beautiful. After a while a riff emerged, with a slightly strange rhythm, and then suddenly - an organ solo based on the same riff! Bent and Snah sat down during this. A couple of minutes later Kenneth emerged on the balcony. He started playing a seemingly simple pattern, while Ståle went into what I'd describe as the sound of easy, gentle, Jethro Tull-ish meadows. Beautiful. Snah came back in, with what I believe was an e-bow (electric "violin bow" for guitar) and started putting layers on top of this. It was almost impossible to notice, but very gradually Kenneth's beat got more and more complex, and eventually Bent joined in again, with his quite distinct "tractor bass" sound, but it was a pretty gentle tractor bass, if one can say that. And then we're suddenly in prog rock heaven for a little while, before it's all taken down to gentle meadows again. And then, the first vocals of the night. Bent singing very very gently. Very beautiful. More prog rock emerged. More organ. A long slow build-up, still with themes already presented.

One thing which struck me this evening: It was mostly like a really long piece of music, with themes and melodies weaving in and out of each other, intertwining, being presented, being followed, built upon, then seemingly forgotten and revisited again later. Masterfully done.

So now, about 40 minutes in, we're building up to something grand. It's just the same long riff, over and over, but with Motorpsycho's amazing ability to end a riff where it starts, it never gets boring.

And bang. Almost silence. Bent and Snah sit down, while Kenneth starts a drum solo. Over the next minutes he builds it like a mason would build a brick wall, but suddenly he is ten masons, building the same wall. If I hadn't witnessed it myself, I would have problems believing that one man is playing all this. He's got to be an octopus. As a non-drummer, I have trouble believing that one man can do this, even though I've witnessed him do it live. Wow.

From the drum solo emerges a melody I'm sure I've heard before. I don't know where - in a jam, at a gig, maybe in one of the new songs they've been playing. It doesn't matter. It's beautiful. And once again they're building something huge, slowly. More and more sounds come into the picture, and lots of organ. They warp the melody into being both a riff and a melody, a melody which ends where it starts, a snake biting its own tail and digging it. Slow, contemplative, intelligent and beautiful. Those four words are, for me, the themes of this piece of music. Because, as I've said, this wasn't just a concert, this was a performance of a piece of music, by four amazing musicians.

They continue building their building, slowly rising, flowing like the seas pushed and pulled by the moon. Wow.

And bang. A new organ solo. Improvising (it seems) over the themes and melodies they had established so far. On a big-ass Steinmeyer church organ. From what I could see he had his hands full, so to speak, doing lots of stuff to change the sound while playing the organ simultaneoulsly.

At this point B & S are sitting down, waiting for Ståle.

He goes on for a while, before yet again dropping into a gentle, meadow-like sound. A short, but sweet bass solo follows from Bent, but Snah quickly joins in. They start building the grand finale. It's beautiful. They build it up to a climax, slowly, the melody continues...

More gentle vocals by Bent. Beautiful.

They rise again, and fall, into a mindnumbing, fistclenching climax -- and rinse and repeat.

And the established melodies weaving into each other.

One more verse from Bent.

Rise and fall, each rise more majestic than the previous. Holy crap. My body has no appropriate response to all this,

We fall back, into a soundscape, and a slightly gentle grinding sound. My first thought is "Gullible's Travails" - but as soon as Bent sings "I've never seen this many faces" I realize it's the first ever live performance of "30/30"! I love this song, and think it's a great performance! The pling-plong and all.

After that the circle is fulfilled, with a soundscape mimicing the first. I m content.

Wahrschiinli s'bescht wo Er brcho hett sit em Abel sim Lämmli.


interview mit bitzeli vom besagte 30/30: http://webtv.tv2.no/webtv/?progId=566257" onclick="window.open(this.href);return false;

[zwirrlibatz]

es tuet sich was: http://www.powerline-agency.com/MOPS.html?show_dates=1" onclick="window.open(this.href);return false;

im januar nöii platte.

und um de 20.4. 3 täg bälin desertfest:
http://www.desertfest.de/index.php/line-up.html" onclick="window.open(this.href);return false;

astra = super. verlotterts ddr industrieareal zmitz ir stadt.

[zwirrlibatz]

http://vimeo.com/31645240" onclick="window.open(this.href);return false;

10min vom chilegig. d'visuals sind au

[zwirrlibatz]

THE DEATH DEFYING UNICORN




heisst



















die nöi platte.














wo im januar usichunnt.

[Sephi]

Zimlech grandiose Titel!

[zwirrlibatz]

google translate N > E:

With jazz orchestra and string octet Motorpsycho write as if by accident the rock opera that is so wonderfully far away from the kitsch of the genre, as is humanly possible.

This happy accident began in the fall of 2009 with a simple request to the Norwegian jazz keyboardist Stale Storløkke. The Norwegian Jazz Forum asked for, namely, whether he thought it possible to develop, together with psycho-motor and the Trondheim Jazz Orchestra concert, which together should be listed at the Molde International Jazz Festival 2010.

Since Stale Storløkke and the band were already known for years, but a collaboration never came about, both agreed a welcome into this project. It quickly became clear that all parties concerned with a higher profit and larger stimulus is seen, to write new pieces, instead of old to arrange it differently. After some time now, the idea of ​​development, strings with involvement in the project, which called a string octet, together with master violinist Ola Kvernberg on the plan.

Limitless content, but the project eventually ran into a very open and rough in places, perhaps covered jazzy direction. The two-hour pure instrumental work, which the project is now performed on the scheduled date came, all the players in front of half-baked. To solve this creative nodes, and Motorpsycho Storløkke decided in favor of including the project of revised versions of the pieces, a double LP. And that's a very lucky! Might be expected because even though in 2012 probably no one with a piece of music history, Storløkke and the band have just created a kind. This may sound excessive, but is clear to everyone who hears only a few of the pieces that one sometimes short and sometimes disturbing epic in first and then take in the warm arms. Like a marching band without a head, the project draws on New Year's morning, through a deserted city and driving the frightened drunks in the marrow. Black tendrils grow out of their instruments, which bear at their ends, colorful flowers. They dress up the walls and transform the city into a black-colored maze. Like a Pied us the voice of singer Bent Saether guides you through the gears, though it sometimes appears in the thicket. Swap foreground and background music and clear their seats when we consider only one short of beautiful flowers, a thorny vine takes us rudely from the feet.

This album is a psychedelic and progressive furiosum, soft and hard in equal parts and never predictable. Not associated with any band, hire a couple of strings. This meets a surprise even when viewing the artwork. If the outer shell cool and sober, almost even sobering, so a painting meets the inner guard. Like the music itself is hard to describe, but now takes a prisoner. This must be seen. The finished work should now be listed again live, then we'll meet there. And we remind each other to breathe it.

Side A:
Out Of The Woods
The Hollow Lands
Through The Veil, part 1

Side B:
Through The Veil, part 2
Doldrums
Into The Gyre
Flotsam

Side C:
Oh, Proteus - A Prayer
Sculls in Limbo
La Lethe
Oh, Proteus - A Lament

Side D:
Sharks
Mutiny!
Into The Mystic


O M G

[zwirrlibatz]

s'erschte cover bild isch uftaucht, vo wäge "cool and sober":

[zwirrlibatz]

VÖ: 10.02.2012

Zwei Jahre nach dem umjubelten, hochkomplexen und ausufernden Heavy Metal Fruit gehen Motorpsycho noch einen Schritt weiter. In Richtung Prog, in Richtung psychedelischer Rockoper, in Richtung Rockolymp. Geht das? Und vor allem: Geht das gut? Diese Musik hat eine Tiefe, die The Death Defying Unicorn zum vielleicht bedeutsamsten, sicher aber auch zum angreifbarsten Album der Bandgeschichte machen. Denn wer kann das hier noch verstehen? Außer denen, die Motorpsycho verstehen? Höchstwertung – in diesem Fall das Minimum. (VISIONS - 12/12 Punkten)

[zwirrlibatz]

MOTORPSYCHO – The Death Defying Unicorn

Psychobabble 073
2-CD / 2-LP
Release date: 10.02.2012
EAN CD: 4046661249125
EAN LP: 4046661249217

Mit Jazzorchester und Streicher Oktett schreiben Motorpsycho wie aus Versehen die Rockoper, die so wunderbar weit weg vom Kitsch des Genres entfernt liegt, wie das nur irgendwie möglich ist.
Dieses glückliche Versehen begann im Herbst 2009 mit einer einfachen Anfrage an den norwegischen Jazz-Keyborder Stale Storlokken. Das norwegische Jazzforum fragte nämlich an, ob er es für möglich halte, zusammen mit Motorpsycho und dem Trondheimer Jazzorchester ein Konzert zu entwickeln, welches gemeinsam beim Molde International Jazzfestival 2010 aufgeführt werden sollte.

Da Stale Storlokken und die Band sich schon über Jahre bekannt waren, eine Zusammenarbeit jedoch nie zustande kam, willigten beide gern in dieses Projekt ein. Schnell wurde deutlich, dass alle Beteiligten einen höheren Reiz und größeren Gewinn darin sahen, neue Stücke zu schreiben, anstatt alte nur anders zu arrangieren. Nach einiger Zeit der Entwicklung entstand nun die Idee, Streicher mit in das Projekt einzubinden, was ein Streicher Oktett nebst Meistergeiger Ola Kvernberg auf den Plan rief.

Inhaltlich grenzenlos, lief das Projekt jedoch schließlich in eine sehr offene und raue vielleicht stellenweise überzogen jazzige Richtung. Das etwa zweistündige reine Instrumentalwerk, welches das Projekt nun am geplanten Datum aufführte, kam allen Akteuren unausgegoren vor. Um diesen kreativen Knoten zu lösen, entschieden sich Storlokken und Motorpsycho dafür, mit dem Projekt aus überarbeiteten Versionen der Stücke eine Doppel LP aufzunehmen. Und das ist ein großes Glück! Denn auch wenn im Jahre 2012 wohl niemand mehr mit einem Stück Musikgeschichte rechnen mag, haben Storlokken und die Band eben ein solches geschaffen. Das mag überhöht klingen, wird aber jedem klar, der nur wenige der Stücke hört, die einen manchmal kurz und manchmal in epischer Breite erst verstören und dann in die warmen Arme nehmen. Wie ein Spielmannszug ohne Kopf zieht das Projekt am Neujahrsmorgen, durch eine menschenleere Stadt und fährt den aufgeschreckten Schnapsleichen in Mark und Bein. Aus ihren Instrumenten wachsen schwarze Ranken, die an ihren Enden bunte Blüten tragen. Sie ziehen sich an den Wänden hoch und verwandeln die Stadt in ein schwarzbuntes Labyrinth. Wie ein Rattenfänger leitet uns die Stimme von Sänger Bent Saether durch die Gänge, wenn sie manchmal im Dickicht auftaucht. Vorder- und Hintergrund der Musik tauschen heiter ihre Plätze und als wir nur kurz eine der schönen Blüten betrachten, holt uns eine Dornenranke unsanft von den Füßen.

Dieses Album ist ein psychedelisches wie progressives Furiosum, sanft und hart zu gleichen Teilen und nie vorhersehbar. Nicht vergleichbar mit jeder beliebigen Band, die sich ein paar Streicher mietet. Diese Überraschung trifft einen schon beim Betrachten des Artworks. Ist die Außenhülle kühl und nüchtern, fast sogar ernüchternd, so trifft einen das innere Gemälde unvorbereitet. Wie die Musik selbst ist das nur schwer zu umschreiben, nimmt einen jedoch sofort gefangen. Das muss man sehen. Sollte das fertige Werk nun noch einmal Live aufgeführt werden, dann treffen wir uns da. Und erinnern uns gegenseitig daran zu atmen.

::::::::::

The Death Defying Unicorn started out as a question from Midt Norsk Jazzforum to Ståle Storløkken in the fall of 2009:  'did he think it was possible to write or organize a concert with Motorpsycho and Trondheim Jazz Orchestra at the Molde International Jazzfestival in the summer of 2010'? 

Having known Ståle for a long time - though never actually having played with him - Motorpsycho thought it a splendid idea and agreed to do 'something'. Having discussed the project, both Ståle and the band soon thought it would be best if the music was new and not just rearrangements of old MP material, so demos changed hands and the thing started to take shape and grew and mutated until it was recognized that it would really benefit the music if there were strings. At that point, both master-fiddler Ola Kvernberg as well as a string octet from Trondheims Solistene became involved. 

There were really no limits put on the music when it was being composed, and every style from avant-garde classical, to free(-ish) jazz to hard as well as soft rock was tried and tested to see what kinds of flavors would suit the players and the project. 

By summer 2010, the work was in a playable, if unrefined, instrumental and perhaps overtly wanna-be jazzy state. The almost 2hr version thus played at Molde Jazzfestival that summer felt unfinished and half-baked to its creators, and as summer grew into fall once more, Ståle and MP decided they needed to bring this project to some kind of conclusion. The logical next step was to finish writing it, and as more demos changed hands, Kåre Chr Vestrheim - who'd produced MP's last studio album Heavy Metal Fruit - came on board as a co-conspirator and bullshit filter. It was decided to try to shape this huge lump of music into some coherent form and that perhaps giving it some kind of story would be a good way of organizing the various musical works.

That winter it grew into shape, and by the time primary recording started at the Propeller Music Division studio in Oslo in April 2010, it had a libretto as well as a logical musical development. The ambition was to try to refine it, and get it to work within the framework of a good old-fashioned double LP - four sides, 20 mins long each. Hell, if it worked for The Who... 

The Death Defying Unicorn is not really a 'rock opera' as such, although the words can be read as a story of sorts. It's not a jazz record or a classical record or a rock record, but not a 'crossover' record either (whatever that might mean this month!). Some people have called it 'prog', and perhaps that is the best description? Though lumping it in with 70s overblown musical circle jerks sells it short, there isn't much in the current musical climate that sounds or feels like this, and both Ståle and MP are resigned to having it dismissed as such by virtually everyone. That's the simplest and most natural way to treat it...  

All that is asked of you is that you approach it with an open mind and as big a set of ears as you can: it's not just bold and big, it's kinda beautiful too. And funny. And preposterously beyond anything MP ever did before - that's for sure!  Truly progressive then - at least to them.

[Uriel]

Bitte hör uf, mis Hirn überladet sich grad.

[zwirrlibatz]

das macht gueti kunscht ebe.


da no meh:

http://www.motor.de/motormeinung/motor. ... otor_.html" onclick="window.open(this.href);return false;


SIE SPIELED S'KOMPLETTE ALBÜM UF DE TOUR!



ah ja, z'losanne übrigens am 22.4.

[zwirrlibatz]

schnippels zum lose: http://www.amazon.com/The-Death-Defying ... B0071W1874" onclick="window.open(this.href);return false;

[zwirrlibatz]

Plötzlich ist man ein Kapitän, wie bei einer dieser Geschichten von Jack London. Motorpsycho entwerfen auf diesem Konzeptalbum eine krude Geschichte über einen Schiffsuntergang, über die Gewalt des Meeres und ziehen den alten Proteus aus den Tiefen des Ozeans. "The death defying unicorn" ist ein Gewaltakt, ein Doppelalbum, das nicht nur textlich eine Herausforderung für den Hörer darstellt, auch musikalisch ist diese Geschichte nahezu unerschöpflich. Selbst im 23. Jahr der Bandgeschichte werden Motorpsycho nicht müde, neue Wege zu begehen.

Der erste Eindruck ist besonders: Da klappt man diese weiße, dicke Box auf und wird mit einem psychedelischen Bild konfrontiert, das an Moby Dick erinnert, an die großen Seemannsgeschichten, das an der Urangst des Menschen vor dem Unergründbaren rührt. Fesselnd ist dieses Bild, das Sinnbild der Mystik dieser musikalischen Reise ins Ungewisse. Gemeinsam mit dem norwegischen Jazz-Keyboarder Ståle Storløkken, mit einem Streichoktett und Geiger Ola Kvernberg entwickelte man von 2010 an das Konzept für "The death defying unicorn", das bald die Ausmaße einer wilden Odysee annahm, von psychedelischen Kraftausbrüchen bis hin zu folkloristischen Melodieschleifen, verstörenden Jazz-Arrangements und epischem Progrock.

Die Produktion ist umwerfend: Es ist sauber und druckvoll, wie hier das Schlagzeug auf anarchisch arrangierte Streicher trifft, wie die Gitarren mit dem Bass duellieren und der Gesang von Bent Sæther und Hans Magnus Ryan körperlos über diese ungefähren Weiten gleitet. Da spielt es keine Rolle, dass das Intro von "The death defying unicorn" schwer nach Jethro Tull ca. 1982 riecht und man die Ungewissheit aushalten muss, dass dieses Konzeptalbum komplett in die Hose gehen könnte. Spätestens nach den ersten paar Sekunden ist aber klar: Das hier ist eher King Crimson als Emerson, Lake & Palmer - und natürlich keine Rockoper, wie immer mal wieder zu lesen ist.

Mit solchen Monstern wie "Tommy" oder "The wall" hat "The death defying unicorn" nur gemein, dass der Platte eine kohärente Geschichte zugrundeliegt. Und sowieso: Rockoper? Ähm. Motorpsycho scheren sich weiterhin nicht um Konventionen und Berechenbarkeit. Stattdessen tauchen sie in die Tiefen einer unwirklichen Welt, führen den Hörer durch die Höllenkreise Dantes bis hinauf ins gleißende Licht. "Welchen Weg man auch einschlägt, er führt einen unfehlbar zum Wasser. Das Wasser hat eine magische Anziehungskraft, es lockt die Menschen vom Festland weg, über Berg und Tal, an Bächen und Flüssen entlang zum Meer. Zum Meer, wo der Mensch sich selbst wiederfindet, wie in einem Spiegel.", steht in "Moby-Dick" geschrieben. Dieses Album ist ein Wahnsinn.

[zwirrlibatz]

Da spielt es keine Rolle, dass das Intro von "The death defying unicorn" schwer nach Jethro Tull ca. 1982 riecht und man die Ungewissheit aushalten muss, dass dieses Konzeptalbum komplett in die Hose gehen könnte.

de satz isch doof. räscht triffts tiptop.

[zwirrlibatz]

da es guets review vo zeitonline mit eim ganze lied:

http://blog.zeit.de/tontraeger/2012/02/ ... corn_11839" onclick="window.open(this.href);return false;

[emP]

wie findsch se de Du Vortex?

[Sephi]

Hallo. Dieses Album ist sehr gut.

gruss agestuffer