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TheMann Group: Members Posts: 103 Joined: June 2004 Posted: May 09 2008, 02:58 It is now a month ago since I recieved my copy of MOTS and first heard the complete work. At that time I felt an urgency to share with this MO community how enormously satisfied and impressed I was by Mikes latest piece. Spontanously, my reaction was that this has to be a strong candidate for "Mikes best work ever". A month later, having played MOTS hundreds of times, I now strongly feel that ... it is still AMAZINGLY GOOD! I love MOTS more than any other MO work (right now, that is). And that is not to say that I don't love Mikes other output. I am a huge fan of more or less all Mikes instrumental pieces, anything from sketchy stuff like Mount Teide, QE2, to the longer works like Incantations,Ommadawn, Crises,.. Great fan of TSODE, in deep love in Hergest Ridge Boxed Version, side 1. Still, nothing touches me as deeply as MOTS. Such an emotional work, so filled with substantial ideas, the inner beuty of Mike's fantastically played guitar. And: this is the most significant factor of MOTS, that I want to stress here. It is worthwhile to mention, I think. It is Mike's exploration of TAKING IT EASY, SLOW SLOW THEMES, not forcing the material as much as he often did in the past. (Having said that, usually I loved this intensity in Mikes earlier works). This time I think this tendency to "utilizing the slowliness" is effectful. I am thinking about such moments as track 4, the long horn themes over Tempest, etc etc (there are many moments on MOTS that fits into this description). Another good example is the wonderful moment just after the piano disappears from track 9, there is a slow brass theme ... not the most significant moment on MOTS and not typical at all for Mike, but really very emotional; then this is followed by those breathing cryingly moving Shabda-chords, integrated with On My Heart Reprise ... and then the 11, the paradise-like music, ... Wow Mike!!!!! Also the long main theme playes by Sibelius-sounding brass, in Harbinger as well as in the final ... this is not that typical for Mike, but excellent.   I really love this MOTS!!!!!!!!!! MIKE BE SO PROUD! Back to top

trcanberra Group: Members Posts: 349 Joined: Jan. 2008 Posted: May 20 2008, 18:26 It is a very nice piece of work - I particularly like the structure.  At times in other longer works you get the feel that Mike is randomly changing from one great tune to another, there is more of a progression here which is why I particularly like it. Back to top

TheMann Group: Members Posts: 103 Joined: June 2004 Posted: June 23 2008, 16:59 To me it is Mikes best ever. Clearly so, no doubt. No other work is so genuinely emotional and meaningful as MOTS. During certain parts in MOTS I am tempted to appoint it as "best music ever written in history"; all right, there is certainly no need to define a single work as best ever all categories, but as I said this is how MOTS makes me feel. One such moment is when we somewhat unprepared arrive at those magnificent Shabda chords; they are clearly very important for the entire composition, but they are introduced rather late, interesting enough. I find this amazing; suddely, after a very fine musical landscape (Harbinger, Amnius, Silluette) suddenly there is a change, more is on stake ... heavier, ... we realise immedietely that this is a milestone moment in the composition; a very very elaborate, beutiful, mysterious, extremely strong musical theme ... we realise that now it is time to really focus hard, this is music of a genious mind, sharper than ever before ... silence please This time it is not Mike testing some new ideas on us. This time it is true communication; true connection to the universe, as Mike puts it in an recent intervjue Think for a moment of the entire MOTS as an previously unknown island; we explore it and arrive at the beaches during Harbiner; we move further into land during the next two tracks, they are variations in the nature, but then ... there is a denser jungle ... and deep into it we discover something really unexpected ... a powerful, very mysterious and impressive hidden temple, 1000s of years old... Nobody did expect it there, is it even built by humans? Nobody knows, but now the circumstances have changed, we are not anymore just enjoying some nature, there is some serious discoveries to be made here. The Shabda theme; all it stands for, all the beuty it contains (as derived in track 9,10,11). I really like that Mike did hide Shabda in this fashion, letting the listener find it for himself so to speak. Normally Mike gives you a taster early, he gives away some fragments of the most important themes. Not this time. All of it Mike ... it is just so great ... I really hope you get loads of attention now, finally having written the ULTIMATE MASTERPIECE. Nobel Prize to Mr. Mike Oldfield, please! Back to top

Olivier Group: Super Admins Posts: 1868 Joined: Nov. 1999 Posted: June 23 2008, 19:07 It's just MIDI notes sometimes impossible to play by humans sent via email to Karl Jenkins. I think Vangelis would be closer to this "communicate with the nature" thing. He says he composes/plays/records in real-time, that thinking ahead ruins the emotion. it's like, he is just lazy, pretending it's to be closer to nature, and he exploits this laziness perfectly to bring emotion, lot or rock artists are like that too. And perhpas jazz too, but it doesn't work for me. http://youtube.com/watch?v=fd6a8cFP-WU http://youtube.com/watch?v=NKEVZKiS6ug "driving force of the universe is music" Back to top

TheMann Group: Members Posts: 103 Joined: June 2004 Posted: June 24 2008, 15:10 "MIDI notes"??? Listen to the guitar on Tempest or Aurora; that is as far you can get from MIDI. There is a bunch of increadible themes on MOTS, open your mind silly boy Back to top

arron11196 Group: Members Posts: 826 Joined: April 2005 Posted: June 24 2008, 18:01 I can kinda see where your coming from Olivier. I am a person that appreciates Vangelis and Oldfield, for different reasons. I think Vangelis is better at "painting a picture" - capturing a mood or describing a scene. With a lot of his work, I can listen to the music and instantly place myself in a visual setting. With Mike, I more often than not appreciate the general composition - perhaps the mathematical element and also the quality of the sound. When Mike plays any instrument, you can really hear all of the detail coming from that instrument. I think they have different strengths. I think Vangelis would have composed something completely different to MOTS with the same concept, and I also think that a lot of the music on MOTS is something quite far from the output of Karl Jenkins. Karl seems to compose much more "classically" - as in using the classical tome of what to do when, and adhering to it in most places. I can also appreciate how you don't particularly care for Mike's style of composing. I don't know much else how it would have been done today though... Mike could have recorded a basic concept or demo album and taken it to Karl, or he could have tried to orchestrate it himself. It would have been interesting I suppose, but I think a knowledgeable hand in steering Mike's creative input here probably did more good for the sound than if it had happened any other way. So, I can indeed respect your sentiment, but I have to disagree with it personally. I don't think Karl Jenkins would have produced anything similar - not to say that it wouldn't have been good, just different - same with Vangelis. Even if it isn't his best work - which we can't realistically expect with every single album anyway - we can still most definitely hear Oldfield's compositional stamp on it all (and no, I don't just mean Harbinger) and even if it has gone through too many constraining processes unlike improvisation, perhaps that is more akin to true classical music - usually fully scored several times before someone picks up a violin. -------------- Arron J Eagling Everyone's interpretation is different, and everyone has a right to that opinion. There is no "right" one, I am adding this post to communicate my thoughts to share them with like-minded souls who will be able to comment in good nature. (insert the last 5 mins of Crises here) Back to top

Olivier Group: Super Admins Posts: 1868 Joined: Nov. 1999 Posted: June 24 2008, 18:27 Quote (TheMann @ June 24 2008, 15:10) "MIDI notes"??? Listen to the guitar on Tempest or Aurora; that is as far you can get from MIDI. There is a bunch of increadible themes on MOTS, open your mind silly boy I mean, during the process of doing it, I think Mike communicated more with Karl Jenkins than with the universe. A little bit the same idea, if I'd believe in God, I'd be more of the type who prays alone than using a priest. Many musicians say the same thing, and to me, it's Vangelis who makes more sense, with his theory of "immediate music" (personally I like improvisations as well as over produced multi track music). But I don't think there is anything to do with the universe though, it's limited to planet Earth and to the human species, it's a very human creation, following strict rules and dependent on the structure of our body, the universe is much more chaotic, alien music could be very different, perhaps based on odors instead of sounds, and they probably have their musicians who say their arrangements of odors drive the universe too. So I guess Mike doesn't waste time communicating with just fans while he can address the universe directly. Back to top

Scatterplot Group: Members Posts: 1981 Joined: Dec. 2007 Posted: June 25 2008, 01:00 Marketing. Folks who have been in the music biz for 35 years learn about marketing. I think he had a few lessons from one of the masters of marketing: Branson. MOTS, while very good, was obviously conceived as a good marketing idea from the beginning. The other business about universal musical vibes BS is really just packaging. But you could say the same for any other album...... It's a business. -------------- We raise our voices in the night Crying to heaven And will our voices be heard Or will they break Like the wind Back to top

nightspore Group: Members Posts: 4770 Joined: Mar. 2008 Posted: June 25 2008, 09:30 Quote (TheMann @ June 23 2008, 16:59) To me it is Mikes best ever. Clearly so, no doubt. No other work is so genuinely emotional and meaningful as MOTS. Have you noticed that Mike's music is getting darker? MotS has a decidedly ominous, anxious feel, as though something threatening is around the corner. And Light and Shade - particularly Light pieces like "Blackbird", "Rocky", "Sunset" - were full of a sense of heart-breaking loss. Contrast this with the joy of much earlier pieces like "Taurus 2" and TB2.... Back to top

arron11196 Group: Members Posts: 826 Joined: April 2005 Posted: June 25 2008, 10:05 Quote (Olivier @ June 24 2008, 23:27) Quote (TheMann @ June 24 2008, 15:10) "MIDI notes"??? Listen to the guitar on Tempest or Aurora; that is as far you can get from MIDI. There is a bunch of increadible themes on MOTS, open your mind silly boy I mean, during the process of doing it, I think Mike communicated more with Karl Jenkins than with the universe. A little bit the same idea, if I'd believe in God, I'd be more of the type who prays alone than using a priest. Many musicians say the same thing, and to me, it's Vangelis who makes more sense, with his theory of "immediate music" (personally I like improvisations as well as over produced multi track music). But I don't think there is anything to do with the universe though, it's limited to planet Earth and to the human species, it's a very human creation, following strict rules and dependent on the structure of our body, the universe is much more chaotic, alien music could be very different, perhaps based on odors instead of sounds, and they probably have their musicians who say their arrangements of odors drive the universe too. So I guess Mike doesn't waste time communicating with just fans while he can address the universe directly. Ah right, got a little confused before, sorry   -------------- Arron J Eagling Everyone's interpretation is different, and everyone has a right to that opinion. There is no "right" one, I am adding this post to communicate my thoughts to share them with like-minded souls who will be able to comment in good nature. (insert the last 5 mins of Crises here) Back to top

Alan D Group: Members Posts: 3670 Joined: Aug. 2004 Posted: June 25 2008, 12:31 Quote (nightspore @ June 25 2008, 14:30) Have you noticed that Mike's music is getting darker? MotS has a decidedly ominous, anxious feel, as though something threatening is around the corner. And Light and Shade - particularly Light pieces like "Blackbird", "Rocky", "Sunset" - were full of a sense of heart-breaking loss. I don't experience this darkness myself, with these pieces. If anything, I find MOTS to be too upbeat, too buoyant, to be really satisfying. And L&S? Well, Tears of an Angel has its share of loss and heartbreak, but generally I don't pick up any very intense feelings from the album as a whole. I don't experience much emotional engagement with it at all, really. It mostly seems remote and rather mechanical, like music constructed on autopilot. Compared with the anguished despair of the close of part 1 of Ommadawn, his most recent works portray (to me) a fair degree of equanimity towards the world. Back to top

TheMann Group: Members Posts: 103 Joined: June 2004 Posted: June 25 2008, 14:59 Mike releases his ultimate masterpiece, with every little note played by humans, with guitar passages such as Harmonica Mundi, and how do some fans react? Celebration? Running nakes through the city, crazy of happiness of actually have had been there when it happened? No, by using the word "MIDI". Actually all records since "Guitars" used Midi (or similar). This is Mke for real people, CELEBRATE HIM! Play Harmonia Mundi LOUD and tell me that this isn't a masterpiece??? Back to top

TheMann Group: Members Posts: 103 Joined: June 2004 Posted: June 25 2008, 15:02 Quote (nightspore @ June 25 2008, 09:30) Have you noticed that Mike's music is getting darker? MotS has a decidedly ominous, anxious feel, as though something threatening is around the corner. Yes. This is true. This was a surprise to me, this sincere dark attempt by Mike. How wonderful it is! Back to top

Sir Mustapha Group: Musicians Posts: 2802 Joined: April 2003 Posted: June 25 2008, 15:06 Quote (TheMann @ June 25 2008, 14:59) This is Mke for real people, CELEBRATE HIM! Get the lambs and the sacrificial knives! Give thanks and praises to YOUR MASTER. CELEBRATE. For the GREATER GOOD. -------------- Check out http://ferniecanto.com.br for all my music, including my latest albums: Don't Stay in the City, Making Amends and Builders of Worlds. Also check my Bandcamp page: http://ferniecanto.bandcamp.com Back to top

TheMann Group: Members Posts: 103 Joined: June 2004 Posted: June 25 2008, 16:38 Quote (Olivier @ June 23 2008, 19:07) sometimes impossible to play by humans (A) all of it is played by humans (assuming that there are no aliens in the orchestra) (B) there are millions of short bits in Mikes previous works that are impossible to play by hand Back to top

Olivier Group: Super Admins Posts: 1868 Joined: Nov. 1999 Posted: June 25 2008, 18:20 Quote (TheMann @ June 25 2008, 16:38) Quote (Olivier @ June 23 2008, 19:07) sometimes impossible to play by humans (A) all of it is played by humans (assuming that there are no aliens in the orchestra) (B) there are millions of short bits in Mikes previous works that are impossible to play by hand I meant he composed it on a computer (we don't know to which extent), Karl Jenkins had to fix parts of it to make it playable by a human orchestra. As a result it may not have the truthfulness of Tubular Bells or Amarok, but not a big deal (but strangely this annoys me more than Trevor Horn in Tubular Bells II), but in my opinion it's difficult to argue this is the music from the universe when there are so many "obstacles" between Mike and the what we hear in the end. Back to top

arron11196 Group: Members Posts: 826 Joined: April 2005 Posted: June 25 2008, 18:21 Quote (Sir Mustapha @ June 25 2008, 20:06) Quote (TheMann @ June 25 2008, 14:59) This is Mke for real people, CELEBRATE HIM! Get the lambs and the sacrificial knives! Give thanks and praises to YOUR MASTER. CELEBRATE. For the GREATER GOOD. LOL   -------------- Arron J Eagling Everyone's interpretation is different, and everyone has a right to that opinion. There is no "right" one, I am adding this post to communicate my thoughts to share them with like-minded souls who will be able to comment in good nature. (insert the last 5 mins of Crises here) Back to top

Scatterplot Group: Members Posts: 1981 Joined: Dec. 2007 Posted: June 26 2008, 05:15 [Actually all records since "Guitars" used Midi (or similar).] MIDI came out in '83. Discovery is full of it as is Crises. Listen to "Foreign Affair". The Oberhiem DX drum machine(I played and had so much fun with it in '86) was probably used as the master midi clock in song mode controlling some keyboards. I think the bass was real, but most of that and all the albums in the years since made much use of MIDI. -------------- We raise our voices in the night Crying to heaven And will our voices be heard Or will they break Like the wind Back to top

Holger Group: Members Posts: 1506 Joined: Feb. 2003 Posted: June 26 2008, 06:22 Talk about going off topic. The thread title is "Celebrating MOTS", no? Celebrate good times, come on! Back to top

Scatterplot Group: Members Posts: 1981 Joined: Dec. 2007 Posted: June 26 2008, 06:34 I am. I love MIDI. -------------- We raise our voices in the night Crying to heaven And will our voices be heard Or will they break Like the wind Back to top

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