Antmo

never heard of it but it seems very interesting...

Wow! I totally agree! I have both albums in question and I love them!

precise, refractive, therefore (for me) ugly... and completely detached from what the EXPERIENCE of the album (which still has to be released!) is! ps. and buy the records every once in a while, damn it!

great feedback!

...because why not the rabbit stew?

...you're telling me they didn't play your favorite, "Friend of the Night"?...

here..."7/4 (Shoreline)" is enchanting...and Leslie Feist plays and wins on my ability to fall in love with a woman just for the sound of her voice. and then with the Talking Heads, I bet on that too

"Musician" (in my case) is a big word (you try, come on) and beyond the technicalities (understandable or not) you can't deny that you recognize the 'good' tracks after just 5 seconds and get ready for the trip (take a piece like Triggerman: how did they come up with all those sounds? -try counting the guitars- and those beautiful layers? a wide-awake journey swirling fast in the air, rising and falling, and after the first 5 minutes where anything can happen -and I mean anything, between acoustic and electric!- you even catch a superb hint of vintage-rock drum'n'bass). I could sit here and tell you a thousand things you already know and we would remain of the same opinion. I see a creative vein that hasn't yet dried, I see the joyful exaltation of millions of sounds that reverberate in and out of the record, and I can't help but love these people (even a ballad like "The 29th Bulletin" that any other band would have played blandly, in their hands "shines" with something...)
Anyway, dear psycho, at the concert they're going to smash us both! The faithful follower and the prodigal son (by the way, how are we organizing for Rimini? I'll bring the women, you bring the beer?)

I don’t know, psycho, I wouldn’t know… I consider myself a long-time fan (very long if I think about Demon Box in 1993 while everyone was going crazy waiting for the new Nirvana) and I grew up musically with their albums; I was growing up (I literally learned to play the bass on their songs), they were growing too and their sounds were changing. The thought that this long creative process has come to a halt scares me a bit, I won't hide it, but I follow you when you say that here, perhaps for the first time, Motorpsycho is “repeating” something. A lot of stuff, right, maybe too much and many tracks could easily be cut (and still it would produce a noteworthy EP). But the album overall is of a translucent, crystalline beauty: it sounds Motorpsycho, it is Motorpsycho and some gems were really missing (Sail On is beautiful, powerful, and solid as we haven’t heard since 'Barracuda' and Critical Mass, if you take the arrangement and study it for two seconds you realize it’s “palindromic,” and however you turn it with those chromatic bass lines it will always be perfect). Then, the guitars; hasn’t anyone noticed that there are (new) floods of guitars on this album? (And isn’t that enough for you?) Hasn’t anyone noticed their sophistication, and that not a single note is left to chance? (And still that’s not enough?) The guitars are the beating heart of the album and they attack, pound, shake, and cuddle, they race at a thousand miles an hour and you get lost in them, which is a pleasure. Never banal, Motorpsycho, never predictable. Above anyone, always. And it’s not over until it’s over...

alternates. some passages are exciting (compared to the album, to what you say about the album), others are vaguely irritating..