Recensire un disco dei Motorpsycho non è mai semplice. In un certo senso, non sai mai cosa ti aspetta. Se a questo aggiungiamo che i 'ragazzi' norvegesi sono stati tra i migliori gruppi degli ultimi venti anni (parlo dei Motorpsycho prima maniera) la cosa si complica non di poco. Da diverse parti questa release è stata taggata come la più progressive della loro - veramente nutrita - discografia. Cerchiamo di far capire cosa succede in The Death Defying Unicorn. Innanzi tutto è stato realizzato con la Trondheim Jazz Orchestra, Ola Kvernberg al violino e Ståle Storløkken dei Supersilent, pertanto, è lecito attendersi che qualcosa succeda. Poi entriamo nel dettaglio: 'Out of the Woods' è il preludio in stile colonna sonora dei brani che verranno, archi e trombe si rincorrono nervosi per circa due minuti e mezzo. Il compito dell'apertura è quello di introdurre 'The Hollow Lands' che rimanda dapprima a cose dei King Crimson poi un inteludio acustico ci introduce alla voce, in stile quasi prog canterburiano. Segue una improvvisazione di chitarra ed ancora la voce. Un bel groove tipico dei Motor ci accompagna. I musici hanno poi la capacità di sfumare in un semi delirio orchestrale/strumentale che chiude con una pausa dove violino ed archi in genere ci dicono che il pezzo è finito. 'Through the Veil' inizia con un gioco ritmico/melodico di sax, passa ad un riff quasi-stoner e sfocia nelle tipiche melodie dei Motor seconda maniera. Contaminazioni free jazz ed orchestrali (echi di Kashmir) diventno preponderanti nel mezzo; immaginate che gli archi fanno quello che farebbe una chitarra in Lobotomizer. Ovviamente, il pezzo si agita di continuo tra momenti più o meno armonicamente movimentati, si scorgono parti free ed orchestrali, groove norvegesi e accenni di psychedelia ritmica. Soluzioni più vellutate ci giungono alle orecchie sia con 'Doldrums' che con la successiva 'Into the Gyre' ove si scorgono echi di Motorpsycho seconda maniera, più rilassati ma non smielati come nelle ultime cose smart pop. Nei dieci minuti di 'Into the Gyre' si succedono diversi momenti di tensione e risoluzione adottati ora con l'orchestra ed ora con le chitarre e/o le tastiere. Il mood si addormenta sino a 'Flotsam', quasi onirica interpretazione del momento della rilassatezza. Poiché l'intero album deve essere visto in ottica concept, anche il sesto pezzo è strumentale per introdurci 'Oh Proteus - A Prayer' dove, toni sommessi a parte, si riesce a sentire lo stesso arrangiamento di Demon Box che sotto sotto condisce con sapienza i movimenti dei mille strumenti i gioco. 'Sculls in Limbo' potrebbe essere una tipica divagazione psycho/noise dei Motor. Belle le atmosfese dark di 'La Lethe' che scivolano verso orizzonti più verdi col passare dei minuti, un mood ormai consolidato in questo disco. Insomma, un ascolto non immediatissimo ma neanche così ostico. Un disco che ci dice che i Motorpsycho non sono - mai - stati una band di quattro pupazzi. Un disco dove, l'ascoltatore più attento, potrà ritrovare echi di cose anche molto lontane, di tempi belli e andati. Una release impegnativa che non ha spaventato i norvegesi, i quali, pur non potendo ormai più raggiungere i fasti dei primi anni di attività, sono tuttavia davvero duri a morire.
Reviewing an album of Motorpsycho is never easy. You never know what to expect. If we add that the Norwegians 'boys' were among the best bands of the past twenty years (I speak of Motorpsycho first manner) it is complicated a little. From different parts this release was tagged as the most progressive of them - truly nourished - discography. We try to understand what happens in The Death Defying Unicorn. First of all was made with the Trondheim Jazz Orchestra, Ola Kvernberg on violin and Ståle Storløkken of Supersilent, therefore, we can expect something to happen. Then go into that: 'Out of the Woods' is a styled soundtrack prelude of songs that will be, strings and trumpets chase nervous for about two and a half minutes. The job of the opening is to introduce 'The Hollow Lands' which refers to things of the first King Crimson then an inteludio introduces us to an audible voice, almost canterbury prog-style. Following an improvising guitar and then the voice. A nice groove, Motor-typical accompanies us. The musicians then have the ability to blend in an orchestral/instrumental semi-delirious that closes with a break where the violin and strings in general tell us that the piece is finished. 'Through the Veil' starts with a rhythmic/melodic sax game, goes to a quasi-stoner riff and flowing melodies in the typical Motor second manner style. Free jazz and orchestral influences (echoes of Kashmir) become predominant in the middle; you can imagine that the arches do what would a guitar do in Lobotomizer. Obviously, the piece is continuously stirred between more or less harmoniously moved moments, you can see free and orchestral, Norwegian grooves and hints of rhythmical psychedelia. More velvety solutions come to my ears, either by 'Doldrums' that by the next 'Into the Gyre' where you can see echoes of Motorpsycho second manner, more relaxed, but not like last honey and smart pop things. In the ten minutes 'Into the Gyre' several successive moments of tension and resolution adopted now with the orchestra and now with the guitars and/or keyboards. The mood falls asleep up to 'Flotsam', almost dreamlike interpretation of the relaxation time. Since the entire album should be seen in concept optics, the sixth piece is instrumental to introduce 'Oh Proteus - A Prayer' where, hushed tones aside, you can hear the same arrangement of Demon Box underneath that dress with wisdom movements of a thousand instruments the game. 'Sculls in Limbo' might be a typical psycho/noise meandering of the Motor. Fine the dark atmospheres of 'The Lethe' sinking into greener horizons as the minutes passed, a mood well established in this record. In short, listening is not so easy but even that difficult. An album that tells us that Motorpsycho - never - been a band of puppets. An album where the more careful listener, will find echoes of things far removed, and the good times gone. Demanding a release that did not scare the Norwegians, who, although they can't now reach more than the pomp of the early years, are however really hard to kill.
Reviewing an album of Motorpsycho is never easy. You never know what to expect. If we add that the Norwegians 'boys' were among the best bands of the past twenty years (I speak of Motorpsycho first manner) it is complicated a little. From different parts this release was tagged as the most progressive of them - truly nourished - discography. We try to understand what happens in The Death Defying Unicorn. First of all was made with the Trondheim Jazz Orchestra, Ola Kvernberg on violin and Ståle Storløkken of Supersilent, therefore, we can expect something to happen. Then go into that: 'Out of the Woods' is a styled soundtrack prelude of songs that will be, strings and trumpets chase nervous for about two and a half minutes. The job of the opening is to introduce 'The Hollow Lands' which refers to things of the first King Crimson then an inteludio introduces us to an audible voice, almost canterbury prog-style. Following an improvising guitar and then the voice. A nice groove, Motor-typical accompanies us. The musicians then have the ability to blend in an orchestral/instrumental semi-delirious that closes with a break where the violin and strings in general tell us that the piece is finished. 'Through the Veil' starts with a rhythmic/melodic sax game, goes to a quasi-stoner riff and flowing melodies in the typical Motor second manner style. Free jazz and orchestral influences (echoes of Kashmir) become predominant in the middle; you can imagine that the arches do what would a guitar do in Lobotomizer. Obviously, the piece is continuously stirred between more or less harmoniously moved moments, you can see free and orchestral, Norwegian grooves and hints of rhythmical psychedelia. More velvety solutions come to my ears, either by 'Doldrums' that by the next 'Into the Gyre' where you can see echoes of Motorpsycho second manner, more relaxed, but not like last honey and smart pop things. In the ten minutes 'Into the Gyre' several successive moments of tension and resolution adopted now with the orchestra and now with the guitars and/or keyboards. The mood falls asleep up to 'Flotsam', almost dreamlike interpretation of the relaxation time. Since the entire album should be seen in concept optics, the sixth piece is instrumental to introduce 'Oh Proteus - A Prayer' where, hushed tones aside, you can hear the same arrangement of Demon Box underneath that dress with wisdom movements of a thousand instruments the game. 'Sculls in Limbo' might be a typical psycho/noise meandering of the Motor. Fine the dark atmospheres of 'The Lethe' sinking into greener horizons as the minutes passed, a mood well established in this record. In short, listening is not so easy but even that difficult. An album that tells us that Motorpsycho - never - been a band of puppets. An album where the more careful listener, will find echoes of things far removed, and the good times gone. Demanding a release that did not scare the Norwegians, who, although they can't now reach more than the pomp of the early years, are however really hard to kill.
Tracklist
1.1 Out of the Woods 2:41
1.2 The Hollow Lands 7:37
1.3 Through the Veil 16:01
1.4 Doldrums 3:07
1.5 Into the Gyre 10:22
1.6 Flotsam 1:33
2.1 Oh Proteus - A Prayer 7:35
2.2 Sculls in Limbo 2:21
2.3 La Lethe 7:53
2.4 Oh Proteus - A Lament 1:05
2.5 Sharks 7:56
2.6 Mutiny! 8:33
2.7 Into the Mystic 7:05
70/100
1.2 The Hollow Lands 7:37
1.3 Through the Veil 16:01
1.4 Doldrums 3:07
1.5 Into the Gyre 10:22
1.6 Flotsam 1:33
2.1 Oh Proteus - A Prayer 7:35
2.2 Sculls in Limbo 2:21
2.3 La Lethe 7:53
2.4 Oh Proteus - A Lament 1:05
2.5 Sharks 7:56
2.6 Mutiny! 8:33
2.7 Into the Mystic 7:05
70/100
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