Motorik new-style rhythms, blended with Hawkwind style psychedelia, and some stoner Kyuss style heaviness, this album is so good that you will listen to it again and again and again
Favorite track: Biosp(i)rit.
This album should be a modern rock classic to anyone with a decent attention span.
It’s an album about as deep as the Marianas Trench, and with a sound that’ll make you feel trapped at the bottom of it. It’s also ridiculously, intricately composed, almost overwhelmingly so at times. It took the better part of a year and a shroom trip for me to fully absorb and understand Biosp(i)rit, for example. It was so fucking worth it, though. What an absolute jewel of a song.
Favorite track: Biosp(i)rit.
The 3rd album of the Germany Psychedelic/ Prog Rock band Mother Engine is a real unique piece of music, which, on one hand side, used to be a concept album to show the evolution of the “Mother Engine” in their fictive story of the same named spaceship and its crew as well as the evolution of the musicians themselve in songwriting and diy recording and production processes to really get inside of the implementation of their imagination.
It was made in a very ornate and passionate process, that took a lot of time and a lot of energy, but represents the sound and the intention really well. Since our band got a lot of reactions to the last two albums, that differed from „really good and clean sound“, to „good, but live much better energy“, we decided to take care of recordings ourself. The offer to record in a lovely place in the woods of our home region ( Vogtland), with our good friend and experienced sound technician Marco Naumann ( Colour Haze, My Sleeping Karma, Dunajam, Up in Smoke,...) came nearly at the same time as we decided to record the new material finally for the 3rd album, so it felt like some kind of fortune to fullfill... I remember Christian saying: “Man, if we won't take that opportunity, we should be struck by lighting while taking a dump”... So we started to get to know that room, which used to be an old small embroidery fabric in the past – buildings that were quite typical in our region. It was a big space of about 60 - 80 m² with brick walls, surrounded by old wooden crossed windows all around the building, wooden ceiling and free swinging wooden parquet floor. It sounded surprisingly dry, when we started our first session inside. Bass was light and cymbals clear, mids fat and there seemed to be a lot of potential for playing loud as fuck, without getting into muddy zone. That and the self resonance of the room was what we tried to capture on that album. Microphones were mostly borrowed by Stefan Koglek (Thank you very much!), to capture that live sound as natural and real as possible. The songs are all played live and together, standing in that room and being highly connected to each other, as we are on stage (except of overdubs of course).
Hangar consists of 4(-5) Songs that fill all 4 sides of an double LP. They'll be divided in different subsections
These songs highly represent our self evolution and individuation as single musicians and as a band at the same time. The songwriting process took us over 2 years and were written fully sober and thoughtfull to create trippy feelings, deep moments and a fictive instrumental story, that should bring the listener into experiencing their own story of Mother Engine. We invested a lot of time in the songwriting process, building tons of structures that needed to be combined in a very time consuming process of practicing every single minute. We tried to use a lot of classic music figures and styles to create that more robotic and unnatural sound. The use of staccato, dissonance, diatonic, monotonic, homo phonic, unisono playing, dynamic metrum and tempii changes and dynamic volume changes attempt to create a new style of songs, that won't end up with melodic, harmonic or simple understandable dramatics, but instead stay as a simple combined rhythm and sound part. Like in a big factory or simply a hangar ;). Of course we still tried to create different moods. Psychedelic and smooth parts, bluesy jamming, slow movement, fast tracks and heavy smashes. Still Mother Engine!
After the Mother Engine crashed in the last Album “Absturz” on that hostile but still very natural and organic planet X-Alpha Wolf, it has been rebuild and overhauled very modern and less DIY and defective as it was before, without loosing its charm and sympathy. Of course that process ain't simple but clearly divided: Prototyp is the design and creation process of that new ship. Testing the first parts, different and new techniques and trying on different parts that could be combined to that new ship. Biosprit is the answer to the question of which fuel should be used. Of course having a new ship, means a lot of responsibility for the owners as well as for the planets you'll visit... Since we found that new resources on the planet, the ship crashed on, we could make it possible to get very energetic and strong fuel, that will consist of many different advantages: power/ strength, perfect handling in asteroid fields and high acceleration.
Tokamak is the new reactor and power supply for the ship. It's a plasma fusion reactor that stands for the new and unconventional energy that empowers the movement of the new tracks, the Mother Engine has to fly through. It starts with understanding the shape of the Torus, which is a round, tire shaped circle in which the nuclear fusion happens through constant magnetic field power. Tighten and repel over and over again. Till the point of compression is reached and extends through the plasma infusion into high energy recovery. In case of a static magnetic field, the Lawson- criteria maintenance will provide a stable energy production.
Finally as an old tradition in every handcraft work, and in combining the different parts (bodywork, Engine, Reactor,...) also called “wedding”, the ship needs to be celebrated... So Weihe happens to be the celebration party and festivity of making it possible that the ship is made! It was a party that took more than 5 magratheanic years and costs twice the amount of the ship... Slartibartfass nearly died, sharing that blunt with Watto ...oh what a party! Of course on the high peak of that party the engine is getting started and the first test run, Leerlauf, is hearable... It's constant, peaky and distorted, loud and constant....
...A new ship is born!
released September 22, 2017
Mother Engine are: Cornelius Grünert - Drums / Christian Dressel - Bass / Chris Trautenbach - Guitar
// All Songs are written and played by Mother Engine, except: Prototyp - Keys, Synth by Marius Leicht / Biosp(i)rit, Weihe -
Udu drum by Jens “Fluff” Wunderlich / Tokamak - Saxophone by Jörg “Pisie” Piesendel, Trombone by Vladimir Esionov
// Recorded in early Summer 2017 @ Alte Klangstickerei // Edit by Alexander Tscholakov, Marco Naumann and Chris Trautenbach
// Mix by Marco Naumann @ Musik Engelhardt // Master by Willi Dammmeier @ Institut für Wohlklangforschung
// Graphics by Andreas Pietzsch / Paintings by Eusepia Lehe aka Katrin Lehmann // All rights reserved //
Big thanks and a lot of Appreciation go out to: Vladimir Esionov, Gabriele Fiori @ Heavy Psych, Philipp Khelfa, Katrin Lehmann,
Marius Leicht, Beate Naumann, Marco Naumann, Jörg Piesendel, Andreas Pietzsch, Torsten Preuß @ Preussguitars, Dirk und Uwe Törppe @ Cube Drums, Alexander Tscholakov, Jens Trautenbach and Plauen Stahl Technologie GmbH and Jens Wunderlich.
Tuber…complex in their simplicity. Gloriously infectious grooves that are orchestrated with an ever present hint of brilliance. Cerebral and philosophical yet delivered with a glossy “adults only vibration”.
Simply put…if Tuber doesn’t make all your senses tingle, think and move…then I don’t think we can be friends. Brian “2Pour” Jarvis