Plaatsen op Annuleren. Stuur naar e-mailadres Je naam Je e-mailadres. Bericht niet verstuurd - controleer je e-mailadres! E-mail-controle mislukt, probeer het opnieuw. Helaas, je blog kan geen berichten per e-mail delen. Privacy en cookies: Deze site maakt gebruik van cookies. Door verder te gaan op deze website, ga je akkoord met het gebruik hiervan.
Voor meer informatie, onder andere over cookiebeheer, bekijk je: Cookiebeleid. The band add violin as well and Johan also sings this song. The record ends in a totally jamming style with long work outs of Rasayana Stian back on sitar and Reverberations. I love the guitar riff that kicks in on Rasayana at 3mins. The band really takes off in the end part with a great guitar solo. Reverberations is the longest track at 16mins and a great way to end.
Listen to the crowd…. The release is a double CD about 90mins and double vinyl. This is for sure one of the best releases this year and it has a fantastic sound production. Catch them on tour in Europe in November.
Copenhagen on Nov 27th I will be the DJ! This is the latest record from the all instrumental psychedelic rock, jazz space out group, Causa Sui. The back of the record features a quote from Brian Eno and a long passage by Henry Miller! Anyway, side A starts with a slow building and spacey track called Garden of Forking Paths.
A really moody and spacey track and Ron plays some really psychedelic guitar to contrast the more krautrock and melodic elements of Jonas. Amazing stuff. This material is more natural and spacey and free form than the Summer Sessions material which was more composed but also some jamming parts. The side B is two 11 min tracks starting with Gelassenheit. It slowly fades up as the drums and bass start things and then the guitars and spacey synths ease their way into the jam.
It really picks up and the mix of the clean guitar and the spacey fuzzed out one is pretty cool and jess plays some awesome bass. Brassica Blues closes the records and is hardly what you would call traditional blues. It is very spaced out loose noodley blues jam. Fantastic record. This record as all the Causa Sui records is already getting hard to find and is only pressed in copies. A single sleeve repress will come out next year with both records from this session. Motorpsycho played a concert at the Effenaar venue in Holland to celebrate 40 years of live music at this venue and the band has played their many times.
They decided to release a vinyl only record available only at this gig of live recordings they have made from this venue over the years. I think it was only pressed in copies and you could only get it at the show. I was not there but got very lucky to get a copy of this record! Anyway, side A starts off with a super cool version of Psychonaut still played often today from May 7 th , The version has a lot of energy and Bent is really passionate in his vocals. The mix is not super clean but pretty raw which adds to the power of this one.
Going to California which features a long piano solo by Snah is also realy good. I always liked thjs song. Flip the record over and the tracks come from a gig on May 23 rd , It starts off with Whole Lotta Diana but the band is in a fucking jamming and intense mood on this record side and really flying.
A mellow track called Come on In is next but then not listed on the record, the band kick into a killer version of Sheer Heart Attack by Queen I read recorded in May ! They say it is the first time they ever played it! Great record.. I am so happy I got a copy. It has been about 3 years since the last Ozric Tentacles record and I used to anticipate these records with sure dedication of the hardcore fan but the last few records show the Ed Wynee project heading into a more and more electronic area and away from rock music, so I have lost interest in a lot in this band that used to be one of my favorites.
The band has moved into being a new age psychedelic electronic band with a bit of rock. Anyway, the CD starts off with a intense track called Attack of the Vapours with wild programmed beats and drums and sound effects.
Ed plays some cool guitar but it is mixed way to the back and panned all around. As his guitar fades away it becomes almost all electronic and then the new age synth section takes over with uptempo percussion and programmed drums. Lemon Kush is also highly electronic but has a pretty cool bass line that sounds like a mix of electro bass and real bass.
The drums also sound like a mix of real very thin and programmed. The synth line that drives the track is pretty cool.
This has cool and interesting sections and a high energy on this track but not a lot of guitar. Flying Machines starts with synthesizers and is a sort of new age spiritual synth trip with a bit of psyched out guitar thrown in here and there.
Sounds like Ed could have made this one entirely on his own. A sort of trance like part and even a brief electronic flute precedes Ed next guitar solo section. The rock opera yup — a proper one! It is a serious work that is seriously demanding to listen to, but the reward is staggering if one likes anything Motorpsychodelic.
No detour, it is probably the strongest distillation of the motorpsychodelic spirit recorded so far. All action brings reaction, and having finally laid the unicorn to rest the band felt like getting back to basics.
This is the first Motorpsycho album ever to feature two equally talented guitar players, and this obviously dominates the sound and feel of the record. In this instance, the less than pretentious title probably threw a few people off the scent, but the notion that the lack of a libretto and unicorns makes any piece of music less ambitious, interesting or worthy is patently absurd in the Psychoverse.
These two sessions yielded the collection of songs found on the studio album Behind the Sun. While the title neither evokes unicorns nor eggplants, the music is of a clear lineage and in many ways builds on both these tangents of motorpsychodelia. The first package went out in summer and the last one in November. The second big project conducted during the first half of was a commissioned work. Written on demand by the St. Talk about a multi-format behemoth! A bit played out and in need of some other input, Motorpsycho took most of off, but started work on the NTM music in late winter and continued all year.
Concurrently, Falck Forlag released a book of essays — with the same title — on all things Motorpsychodelic, written by 15 or so psychonauts, journalists, musicians and other notables, each focusing on a song from the album. Location: Haarlem, Netherlands. Tropehjelm likes this. Location: Oslo, Norway. Bjorn Kjetil Johansen , Aug 3, Another quick observation.
What a great song. Bjorn Kjetil Johansen likes this. Location: Norge. BurtThomasWard , Aug 3, Location: Ramnes, Norway. Wait a minute My oh my I'm not gonna add much to this thread as I've written about them before, but just say that Motorpsycho is IMHO the single greatest rock band of the past years, maybe even longer. This is the only track not written by the band, as such, it is written by Moondog. It's all quite eerie.
All of the tracks up to this point have moved around in different styles giving the album a lot of variety, but staying cohesive with Motorpsycho's attitude. The tracks have been staying at just over 5 minutes or less. The next track finally exceeds the 17 minute mark, the title track "Demon Box".
Thick, heavy and dark guitars bass and drums come riding in on a slow and grungy riff that will make your speakers and floorboards shake. Those familiar gruff vocals return and you know you have entered back into a stoner rock meltdown.
Some dirty vocals are involved here also. You'll ride on these waves of riffage for a while before the music breaks down and goes into a noisy collage of synth effects, rolling bass and screeching and wailing of tortured guitars and other effects. There is no rhythm during this nightmarish section as you get swallowed up in this until suddenly after the 11 minute mark when out of nowhere, everything just starts crashing along on the solid and slow riffs again with vocals eventually returning and the last few minutes burn away with a drone and effects and subdued violin music.
Most bands would just let it go at that, but Motorpsycho still wasn't finished. This heaviness continues with "Junior", but with a sound that isn't quite as thick, somewhere between heavy metal and pop almost, very alternative sounding, like Matthew Sweet or Dinosaur Jr. This soon gets buried in thick guitar and bass and slow, solid drums. Even with all of this, you can still hear a bright, tonal percussion tapping along.
It all mellows out when the vocals start, remaining dark and bass heavy, and then adding the thick sound back in later. There is an unsettling layering of clean and dirty vocals before it enters into a very rousing cyclone of loud and solid guitar crunchiness. The music follows that pattern again when the spoken vocals return and the music rebuilds. Excellent track! I love this album that on the first half is mostly softer and acoustic, but not completely, while the 2nd half will melt your ears.
This is one that my wife or the neighbors don't like, so I have to wear headphones, but that's okay because you can hear and taste it all so much better that way anyway.
The ragged edges are just perfect on this album and is also what helps make it so awesome, but that is the best way to have your stoner rock. But this is so much more than that. Even this early on, you hear some forays into the progressive spectrum, probably even enough to make all progheads happy.
Fair warning though, if you don't like your music loud and heavy, then you should stay away. If that doesn't bother you, then by all means, get this album. No, it's not perfect, but I love it anyway. This album helped establish Motorpsycho as one of the most important bands to come from Norway. If you have heard the more progressive albums that the band has put out to date, then you still owe it to yourself to hear this to see what else the band can do.
It's only 4 stars because it isn't as progressive as some of their more recent albums. But it is still excellent. Motorpsycho had gone through the years proving time and again that they were a team of musicians that could make an impression of some kind in different styles of rock.
Starting with stoner rock and moving through various sub-genres like country rock, alternative, fusion and now finally making their mark with progressive rock. So big, in fact, that they created a masterpiece. For anyone that doubted they could do it, they proved them wrong. On this album, Motorpsycho teamed with Stale Storlokken, the Trondheim Jazz Orchestra and the small string orchestra Trondheimsolistene to create a bombastic, yet top-notch album full of heavy rock instruments meshed with orchestra and jazz instruments, and left the critics, fans and the public with their jaws hanging open in awe.
Originally, this music was a long-forgotten by Motorpsycho as an idea they had toyed around with and then shelved without further development. After it was brought back out into the light, it ended up being commissioned by Molde International Jazzfestival to be performed on their main stage for their 50th anniversary in The music afterwards was re-arranged, fine tuned and recorded from the beginning with Stale Storlokken, one of Norway's top keyboardists, doing the arrangements for the ensemble work.
What we ended up with is an amazing multi-movement work with a lot of power and amazing musicianship. The first CD contains the first 7 movements of the album, starting out with the overture "Out of the Woods" which features mostly strings playing the first main theme and developing it, preparing for the next part "The Hollow Lands" which continues the developed motif with the sudden inclusion of Motorpsycho and an explosion of guitars, keys and drums playing right along, and what an opening and what an impression they make right off the bat.
As you find yourself enveloped in this amazing music, you eventually come to the lyrics, dynamics being utilized to emphasize the first part of the story, and the addition of the jazz orchestra. But it all really comes together in the epic "Through the Veil" which sees all of the musicians come together in a miasma of sound and awesomeness. At this point, the listener knows that they have entered a world of amazingness and that this album is to be remembered and be recognized as a rock masterwork.
The music has to be experienced, it is that awesome. Everything to this point represents the main character being brought onto an ill-fated ship and the ensuing storm that rips the boat to shreds, leaving it floating aimlessly in the aftermath. Things cool down after those first three tracks, but the music isn't any less interesting, in fact, it proves that this is not just a one-trick pony, but that it can be dynamic also. Disc Two begins with "Oh Proteus, A Prayer" and continues with the story of the sailors lost at sea and mysterious and atmospheric music with harmonized layered vocals and heavy strings.
The melody is loose and listless, wandering around like the ship. After 3 minutes in, it increases in volume, a dark undertone is brought about by churning guitars waves as the wandering vocals continue. The darkness continues to drone on after the vocals end as the layers of instruments meld together. The music builds and a sense of danger and unease come with the build. Again, a drone-like sound creates the dark undertow of the water, while the hazy jazz orchestra continues to play, but in a more experimental way, contributing to the mental fog surrounding the ship's crew, what is real and what is not.
Wordless vocals are harmonized, but mixed deeply, and somehow a melodic sax solo emerges from the dark nightmarish instrument haze, and even that seems unsure of itself as the music builds, then suddenly lets go and softens, then suddenly increases in a dramatic orchestral passage. This section ends with a short reprise of "Oh Proteus" subtitled as "A Lament" this time.
This brings back decipherable vocals, but now the crew seems to be losing their sanity. The last three tracks deal with the crew slipping into insanity starting with "Sharks".
The title might suggest the meat-eating fish, but in reality deals with the sharks of the mind. Soft, slightly unhinged singing and minimal music that sounds like something from Roger Waters mind begins the track.As much as every psychonaut would love to have it in his/her collection, it's still just a bootleg. "Strings Of Stroop Live At Effenaar" feels a bit the same to me: not a complete live show, ugly artwork, hard to get copies of it. I missed this release somehow but don't really care about it because it just doesn't feel like a genuine MP release.