Mythopoeic Mind’s second album, Hatchling, which is due for release on Apollon Records Prog on August 20th. Today we are happy to present to you a trinity of good news relating to the upcoming album:
(1) A teaser video which serves as a preview of the album is premiered.
(2) Bandcamp pre-order is launched today. In addition to being able to order the new album separately on physical and digital formats, you can also order both our albums on CD or LP at once at a 20% discount and with no extra shipping cost compared to ordering only the latest album. Check it out at https://mythopoeicmind.bandcamp.com/album/hatchling
(3) As a Bandcamp exclusive, we present a digital bonus track entitled Supreme Vision. This is an instrumental variation on the album track Fog Vision which features Steinar brand new alto saxophone, the Selmer Supreme. While Fog Vision will only become available upon full album release, the bonus track is streamable as of today and you can download it, together with the single Fear Fiesta released in June, after placing your pre-order. For a listen: https://mythopoeicmind.bandcamp.com/track/supreme-vision
A special thanks to Jacob Holm-Lupo for a wonderful mix. All the best from the Mythopoets, Veronika Hørven Jensen, Trond Gjellum, Pål Selsjord Bjørseth, Ola Mile Bruland, Anders Kristian Krabberød, and Steinar Børve
Heavily inspired by the late 80’s/early 90’s «indie»-aesthetics on MTV, which we all fondly remember from our younger years, we filled our rehearsal space with gloriously cheap lighting equipment, cranked our amps, and blasted through our Exercise in Style, No. 4: Metaforisk (Metaphorically). Enjoy!
The first installment of our “Stiløvingar”-project is due for release on Bandcamp on Friday July 2nd! These are the first four of a total of 99 (!) variations on the same theme, based on Raymond Queneau’s book “Exercises de Style” from 1947.
Anders and Jarle presents Panzerpappa’s ambitious Exercises in Style-project. They talk about its inception, the making of the initial theme, and the intriguing literary concepts of Raymond Queneau and the other members of OuLiPo.
This was the first cover Panzerpappa ever did, and we first played it live about six months before we “massacred” the Prokofiev sonata in Skien (see the previous post).
Happy The Man was one of the true “American” progressive rock bands, together with Kansas, and later Echolyn in the 80s and 90s (to name a few…).
HTM started with a fascination for British progressive groups but managed to carve out a distinctively personal style. And while Kansas was definitely more “symphonic” and had more Great Plains-vibes in their music, Happy The Man became exponents for a sort of “American Canterbury” approach, incorporating much more jazz and jazz-rock influences into their music.
The first two albums they released , Happy The Man and Crafty Hands, are (rightly) considered masterpieces, with Kit Watkins’ truly distinctive keyboard arrangements. No mellotrons in sight – he preferred the leaner textures of string synthesizers, electric piano, Moogs, and ARPs.
“I Forgot To Push It” is a tour de force of big band-influenced music arranged for an instrumental quintet at the height of their powers. The main repeated riff is almost unbearably catchy, and one could easily imagine the final, brilliantly arranged ensemble being belted out by a full saxophone section in a big band.
The primary challenge for Panzerpappa in covering this particular Kit Watkins-composition was the original KEY. It’s in G major. Steinar plays a vast array of different instruments very well, but his main horn is the alto saxophone, and we wanted to utilize the alto in our version. To make it work for the instrument’s range, we had to transpose the song down to D major. Jarle, who had already played the song with the progressive rock tribute band Dead Dino Storage, had to relearn the whole thing… 🙂
But, as it was, it ended up working out better in this new key, since we were performing it with just four musicians, and the key of D made the song sound deeper and fuller, in a way…
We performed the tune at a couple of live gigs, and then, in 2008, we were asked to contribute a song to a compilation album put together by the Norwegian prog fanzine Tarkus. We agreed that I Forgot To Push It would be an excellent choice, so we recorded a version more or less live in our old rehearsal space in the basement of a school called Hersleb in Oslo. We had a rather spartan recording rig consisting of a few microphones, an antiquated PC and a 16-bit audio interface.
But the recording turned out quite well, and we sent it to Kit Watkins to get his opinion. This is what he had to say after hearing our interpretation:
“Wow, that is just a fantastic and wonderful remake of the tune!! Please give my heartfelt thanks and congratulations to all of the band members. I loved the interpretation and the embellishments. Also, I love how you used a lower key signature — gives it a completely new feel! Thanks so much for sharing it with me.”
Which, of course, made us all pretty starstruck, coming from a brilliant musician and composer that we all have admired deeply ever since Trond heard his first Happy The Man record when he was still in kindergarten… 😀
Early 2013 we were contacted by the organizers of the Rock In Opposition (RIO) festival in Carmaux, just outside Albi in the south of France, about playing at the festival. Arriving at the place was like coming to avant rock heaven: located at the striking Cap Découverte, some of the leading avant rockers are brought together there every year to celebrate the frontier of rock’n’roll. Hanging around, drinking wine, eating an enormous amount of crepes, it was all a memory to cherish.
Most important, of course, was the music. To be able to attend concerts with many of our favourite artists in a single weekend, was mind-boggling. And the best part of it all, was to present our own music in front of an audience so in tune with what Panzerpappa is all about.
From the moment we stepped onto the stage, we felt an immediate connection to the crowd. The reception was overwhelming, and made us put our heart and soul into every tune.
A lot of wonderful moments come to mind, but the one that we will remember the most, was being joined on-stage by Dave Kerman, one of the biggest avant rock inspirations of all times to us in the band. Dave contributed on the beginning of “Satam” by playing sandals (!) like there was no tomorrow. It started out as a joke, because Dave is famous for using Barbie dolls as drumsticks. Trond suggested that he would be using his sandals as drumsticks on the concert, but Dave replied “I can play sandals!”. And so he did.
Sandals – Dave Kerman Saxophone/EWI – Steinar Børve Keys – Hans Petter Alfredsen Guitar – Jarle G. Storløkken Bass – Anders K. Krabberød Drums & Perc – Trond Gjellum