Album godine grupe Motorpsycho (NOR) – „The Tower“ proglašen od strane BBC radija 6 ne prestaje da skuplja pozitivne kritike muzičkih kritičara, medija i fanova. Tim povodom progresivni velikani iz Trondhajma će nastupiti po prvi put u Srbiji, 9. marta 2018. godine u Dom omladine Beograda u organizaciji koncertne agencije RockSvirke.com sa početkom u 21 čas.
Ulaznice se mogu kupiti po promotivnoj ceni od 1500 dinara (ograničen kontigent ulaznica dok se ne prodaju ili do 28. februara) na prodajnim mestima Eventim Serbia, GIGS TIX-a, DD Tickets-a i u FELIX Shop, TC Sremska, (II sprat, radno vreme: 12 – 20h). Kada se rasprodaju promotivne ulaznice, regularna pretprodajna cena do dana koncerta iznosiće 1800 dinara, a na sam dan za ulaznicu je potrebno izdvojiti 2100 dinara.
Priča o bendu Motorpsycho startuje 1989. godine kada su se dva školska druga, Hans Magnus ’Snah’ Ryan i Bent Sæther, ponovo srela u Trondhajmu, gde je Bent studirao i radio kao DJ na univerzitetskoj radio stanici. Pored toga, svirao je sa Kjell Runar ‘Killerkjell’ Jensenom u grupi kojoj je bio neophodan gitarista, te su regrutovali Ryana i ostalo je istorija.
Naziv benda izabrali su nakon što su odgledali istoimeni film Rasa Mejera (Russ Meyer), a prvi album „Lobotomizer“ objavili su u septembru 1991. godine za nezavisnu indie etiketu Voices of Wonder iz Osla. Sledećeg meseca, na mesto bubnjara dolazi Håkon Gebhardt i do kraja godine kreću sa prvim svirkama u inostranstvu. Nakon mini albuma „Soothe“ i nekoliko singlova, bendu se pridružuje četvrti član Helge ‘Deathprod’ Sten, koji umnogome doprinosi novom, eksperimentalnom zvuku grupe, koji je do tada bio prilično u klasičnoj matrici post-hardcore gitarskog roka. Svojim avangardnim pristupom postavio je nove standarde u bendu, te je pod ovim uticajima objavljen progresivni, dvostruki album „Demon Box“ 1993. godine koji im je doneo nominaciju za Spellemanprisen, odnosno norveški Gremi, kao i ogromnu bazu obožavalaca širom Evrope. Deathprod je kao član benda učestvovao još na trostrukom izdanju „Timothy’s Monster“, logičnom nastavku eksperimentalnog muzičkog univerzuma prigrabljenog na prethodnoj ploči, nakon čega se povlači i ostaje samo u ulozi producenta.
Devedesete su bile veoma produktivan period za Motorpsycho budući da su skoro svake godine objavljivali novi materijal, a do kraja 20. veka u četiri navrata su osvojili pomenuti norveški Gremi, od čega tri puta za album godine u rok i hard rok kategorijama („Blissard“, 1996., „Angels and Daemons at Play“, 1997. i „Let Them Eat Cake“, 2000. godine). Sa albumom „Let Them Eat Cake“ bend se udaljiio od hard rok korena i prigrlio elemente džeza, popa, žičanih i duvačkih aranžmana, a ovaj princip će se zadržati na narednim pločama „Phanerothyme“ (2001) i „It’s a Love Cult“ (2002). Nakon četvorogodišne diskografske pauze objavljen je „Black Hole/Blank Canvas“ koji su u potpunosti odsvirali i otpevali Bent i Shah, jer je u međuvremenu Gebhart napustio grupu.
Bend je zatim isprobavao razne projekte i menjao članove, dok na mesto bubnjara nije stigao Kenneth Kapstad čime startuje nova faza u životu grupe. Album „Little Lucid Moments“ iz 2008. predstavlja povratak visokooktanskom roku sa početka karijere, a takođe označava i početak saradnje sa norveškom avant-garde/džez ekitetom RuneGrammofon. Kako bi proslavili dvadesetogodišnjicu postojanja, Motorpsycho 2009. godine objavljuju vinilno izdanje „Child of the Future“ snimljenog u Čikagu sa Stivom Albinijem.
U ovoj deneciji, trio je uzeo učešće u mnogim interesantnim projektima, a prošle godine su objavili aktuelno studijsko izdanje „The Tower“. Na ovom albumu umesto Kapstada, koji je napustio bend, ulogu bubnjara obavlja Tomas Järmyr. Iako su uvek nastojali da prošire svoje muzičke vidike i istraže nove načine da izraze sebe, ovo je avanturistički album čak i za Motorpsycho standarde. U muzičkom smislu ovo je najteži album koji je bend snimio nakon dugo vremena, a pesme su u dijapazonu od kratkih i slatkih do dugačkih i teških – u nekim delovima koketirajući čak sa stoner rokom. U odnosu na prethodnika „Here Be Monsters“, „The Tower“ je eksplozivnije izdanje, zvuk je prljaviji, a rifovi žešći, a dok je prošli album bio introvertniji, nova ploča odražava vreme u kome je nastala i više se bavi društvenim nego ličnim problemima. Album je snimljen u studijima u Los Anđelesu i Džošua Tri uz dodatna snimanja u Trondhajmu. „The Tower“ je dokaz kojom bend želi svima da stavi do znanja da je živ i da potvrdi da još uvek nisu za staro gvožđe.
http://motorpsycho.no/
https://en.wikipedia.org/
https://www.facebook.com/
https://open.spotify.com/
http://www.deezer.com/en/
Tickets can be purchased at a promotional price of 1500 dinars (limited ticket containers until or until February 28) at Eventim Serbia, GIGS TIX, DD Tickets and FELIX Shop, TC Sremska (2nd floor, working hours: 12 – 20h). When selling promotional tickets, the regular pre-sale price until the day of the concert will be 1800 dinars, and it is necessary to allocate 2100 dinars on the day itself for the entrance fee.
The story of the Motorpsycho band began in 1989 when two school students, Hans Magnus ‘Snah’ Ryan and Bent Sæther, met again at Trondheim, where Bent studied and worked as a DJ at a university radio station. In addition, he played with Kjell Runar ‘Killerkjell’ Jensen in a group that was a necessary guitarist, and they recruited Ryan and the rest of the story.
The band’s name was chosen after the film was featured by Russ Meyer, and the first album, Lobotomizer, released in September 1991 for the independent indie label Voices of Wonder in Oslo. Next month, Håkon Gebhardt comes to the place of the drummer, and by the end of the year they start with their first gigs abroad. After the mini album „Soothe“ and several singles, the band joined the fourth member of Helge ‘Deathprod’ Sten, which greatly contributes to the new, experimental sound of the band, which until then was quite in the classic matrix of the post-hardcore guitar. With his avant-garde approach, he set new standards in the band, and under these influences, a progressive, double-ended „Demon Box“ album was released in 1993, which brought them nominations for Spellemanprisen and Norwegian Gremi, as well as an enormous base of fans across Europe. Deathprod, as a member of the band, took part in the triple release of Timothy’s Monster, the logical sequel to the experimental music universe captured on the previous record, after which it retreats and remains only as a producer.
The 1990s were a very productive period for Motorpsycho, since they published new material almost every year, and by the end of the 20th century they won the aforementioned Norwegian Gremi, three times for the album of the year in rock and hard rock categories („Blissard“ , 1996, „Angels and Daemons at Play“, 1997, and „Let Them Eat Cake“, 2000). With the album „Let Them Eat Cake“, the band moved away from hard rock and embraced the elements of jazz, pop, wired and windbreaking arrangements, and this principle will be retained on the next flags of „Phanerothyme“ (2001) and „It’s a Love Cult“ ( 2002). After a four-year disco break, „Black Hole / Blank Canvas“ was released, which were completely played and singed by Bent and Shah, since in the meantime Gebhart left the group.
The band then tested various projects and changed the members, while Kenneth Kapstad did not arrive at the drum site, thus starting a new stage in the life of the band. The album „Little Lucid Moments“ from 2008 represents the return of the high-octane date from the beginning of the career, and also marks the beginning of cooperation with the Norwegian avant-garde / jazz run RuneGrammofon. In order to celebrate the 20th anniversary of existence, Motorpsycho 2009 is publishing the „Child of the Future“ video released in Chicago with Steve Albini.
In this day, the trio took part in many interesting projects, and last year they published the current studio edition „The Tower“. On this album, instead of Kapstad, who left the band, the role of the drummer is performed by Tomas Järmyr. Though they always tried to expand their musical aspects and explore new ways to express themselves, this is an adventurous album even for Motorpsycho standards. In music terms this is the hardest album that the band recorded after a long time, and the songs are in the range from short and sweet to long and heavy – in some parts flirting with even a stoner hand. Compared to the „Here Be Monsters“ predecessor, „The Tower“ is a more explosive release, the sound is dirtier, and the riffs are tougher, while the previous album was more introvert, the new record reflects the time it was created and more concerned with social rather than personal problems . The album was recorded in studios in Los Angeles and Joshua Three with additional recording in Trondheim. „The Tower“ is a piece of evidence by which the band wants everyone to make it known that it is alive and to confirm that they are not yet old iron.
http://motorpsycho.no/
https://en.wikipedia.org/wiki/Motorpsycho
https://www.facebook.com/motorpsycho.official/
https://open.spotify.com/artist/2bNIAjyL3hFCuQBQqhPN4T
http://www.deezer.com/en/artist/9602