Motorpsycho - Timothys Monster (CD, Album)
With a loyal fan base established, Motorpsycho set out to make a name for themselves both at home and abroad, issuing a string of acclaimed albums that chewed through genres with impunity, with highlights arriving via 's Phanerothyme and 's Child of the Future. The band issued the sprawling double-length The Tower as the first entry in an experimental, genre-crossing trilogy in ; it also included 's The Crucible and 's The All Is One. The following year saw the release of the double-length Kingdom of Oblivionwhich was considered a return to hard rock.
Motorpsycho were formed in the fall of by guitarist Hans Magnus "Snah" Ryanbassist Bent Saetherand drummer Kjell Runar "Killer" Jenssenwho all knew one another from playing the regional club circuit with various bands. After a handful of EPs and vinyl-only releases, the new Motorpsycho lineup added a fourth member, Helge Stenon keyboards and electronics, and they cut the grand-scale double album Demon Boxwhich earned enthusiastic reviews while expanding the group's following.
The band stayed busy in the studio, releasing a pair of EPs in late and earlyleading up to Timothy's Monsteran expansive work spread out over two discs on CD and three LPs on vinyl.
After the release of Timothy's MonsterSten dropped out of Motorpsycho as a full-time bandmember, though he continued to work with the group in the studio and appeared at their live shows as his schedule permitted; guitarist Morten Fagervik and keyboardist Lars Lien came aboard in his place.
Inthe group released The Tusslerthe Motorpsycho - Timothys Monster (CD soundtrack album to a movie that existed only in Motorpsycho 's imagination, and despite a busy touring schedule, they returned with another album, Blissardin By the time Angels and Daemons at Play was released inFagervik and Lien had dropped out of the group, and the core trio of RyanSaetherand Gebhardt soldiered on, releasing their Motorpsycho - Timothys Monster (CD studio effort, Trust Usinand the first in their series of Roadworks albums collecting live recordings from the group's archives in In the 21st century, Motorpsycho kept up a hectic recording and performing Album), releasing four studio albums, another Roadworks volume, and a collaborative EP with Jaga Jazzist Horns between and ; during this period, elements of jazz and electronic music also began playing a larger role in their music.
A-Sun Amissa. Joachim NordwallMats Gustafsson. Mesa Of The Lost Women. After Dinner. Sarah Davachi. John BalanceCoil. Phill Niblock. Eliane Radigue. Yeah, times were different, the mores of the past a foreign country and the now-deceased Heron a contrarian commentator meeting things head on. The released material was originally Album) across three albums and is supplemented here by a full, previously unheard alternate version of Free Will and a stack of tracks recorded as collaborations.
The material has been resequenced, rather than following the original releases. The third contains the unreleased material. Of course, the compilers could be accused of spoon feeding, but that misses the point when this set is designed to show Heron in the strongest possible light.
That overshadows what this set draws out. When he wanted to be, Scott-Heron could be a soul stylist on the Marvin Gaye level. The lyrics on the first disc are acerbic and pointed, but his singing and the music are terrifically elegant. At its wildest reaches, the jazz-poetry of the second disc places Scott-Heron as the angry, racial-tension-aware offspring of Lord Buckley. The vocals are a slight issue though and thankfully something that would get better with each subsequent release.
This one starts out with Album), Wind-Bourne', which starts out sounding psychedelic and then suddenly exploding into a jangly riff of twin guitars and a sort of funky feel with quickly strummed guitars. The song has a carefree feel, sort of a California style rock with a slight stoner edge. Not completely straightforward, you hear the band experiment with progressive traits towards the middle, but it stays in a more alternative rock vein with some dissonance thrown in for good measure.
The carefree feeling is still there, but you can tell the songs follow a more definite structure. For first time listeners, this might be hard to imagine, but those familiar will note the difference.
As is typical of Motorpsycho, even though the tracks are upbeat, they are not in a hurry to get through instrumental sections as they let their songs develop. This one features some great guitar sections. As it nears the chorus, things intensify. The pattern repeats for the 2nd verse. The instrumental break continues the intensity generated by the chorus, then drops off to a softer sound which builds on itself again before blasting into heavenly solid guitars.
The tracks that never were heard from again make sense being excised in the end though, "On The Toad Again" is a plodding screamfest that marries old school Sabbath to '90s grunge metal, but actually works in a fun sort of way, but would be completely out of place on the album. The same for the appropriately titled "Very 90's, Very Aware," which also leans more into rapid fire drums and grungy bass, its simplicity is its weakest spot and makes it far less engaging than most of the other material here.
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