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THE MOOR

Psychedelic/Space Rock • Sweden


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The Moor biography
"The MOOR is mainly a vehicle of distressful, evil music. I do believe in the force of the dissonant. I have never liked soft music." Those are the words of keyboard player Kenneth Magnusson, one of the band's two founding members, the other being vocalist Hans Mll. Their music is indeed very strange: a kind of dark, almost gothic prog played with a frenzy that sits somewhere between HAWKWIND, ANEKDOTEN and KING CRIMSON. Add to this some Frippian guitar work, floating keyboards (mostly Mellotron) and brutal, ultra low-range vocals that contribute to the sinister nature of their sound, and you'll get the picture. Formed in 1985, the band has released two official albums todate, their latest (1996) boasting the contribution of HAWKWIND saxophonist Nik Turner as well as five guest musicians.

Their first release, "Every Pixie Sells a Story" ('93), has a suspenseful, foreboding quality that draws as much from HAWKWIND as from post-punkers KILLING JOKE or goth-metal band TIAMAT. It also oozes powerful Mellotron from beginning to end. Mostly inspired by KING CRIMSON, their second album "Flux" is more aggressive and its lyrical tone even darker and nastier (notice how each track is titled with a single four-letter word). The album has an almost 'detached' or robotic sound which LANDBERK often only hints at. Add to this a generous dose of techno-aggression, some half-spoken, goth-like lyrics and a frenetic urgency supplied by Turner's free-form sax duelling with Jerker Rellmark's trumpet (guest musician borrowed from MASQUE). The album also provides ambient passages, some space rock and features a mishmash of instruments that give an orchestral ambiance to it all: violin played by Frederic Sundqvist of DARXTAR, flugelhorn, flute and tambourine.

If you think you'd like to hear a gothic OZRIC TENTACLES, or if you simply fancy listening to symphonic sounds crashing head-on with industrial noise, you'll be tripping to your heart's content with the music of The MOOR. Of course, fans of HAWKWIN will love this.

: : : Lise (HIBOU), CANADA : : :

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THE MOOR discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

THE MOOR top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 3 ratings
Every Pixie Sells A Story
1993
0.00 | 0 ratings
Flux
1996

THE MOOR Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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THE MOOR Reviews


Showing last 10 reviews only
 Every Pixie Sells A Story  by MOOR, THE album cover Studio Album, 1993
3.00 | 3 ratings

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Every Pixie Sells A Story
The Moor Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

2 stars Sweden is defintitely at the forefront of the Psychedelic / Space Rock movement these days. THE MOOR released this their debut back in 1993. As I read their bio here and tszirmay's review I was really looking forward to this one as it sounded like it was right up my alley. As I checked it out on other sites though I noticed they were unaminously poorly rated. I went into this with an open mind but soon found myself siding with the majority. The vocals are not good at all, mostly spoken and Gothic, while the music is samey with that heavy beat along with synths and mellotron. Oh and throw in the odd guitar solo too. I'm glad I don't have the lyric sheets either as what of it I could understand (he mutters) was embarrassing.

"Consider Death" opens with that heavy beat with synths. It's catchy as these spoken Gothic vocals join in. A spacey calm before 5 minutes as the beat and vocals stop. Drums 7 1/2 minutes in as the guitar comes in and cries out to the end. "Neo-Futurist Fantasy" is embarrassing as he talks about sex and drops the f-bomb.Totally tasteless and 80's sounding. "Candlelight" has more of that dance beat as those Gothic vocals come in with synths. I like the guitar after 4 minutes.

"Now..." is better as we get more guitar and the vocals are actually singing here. Strange lyrics though. The guitar dominates after 3 minutes. It ends with this uncontrollable laughter (no that wasn't me). "Night & Day" is really more of the same although it sounds orchestral after 4 1/2 minutes to the end. "Angels Of Death" has this beat with vocals. Guitar solo after 3 1/2 minutes. "Mines Of Moria" is different as we get picked guitar and synths. Mellow. "Alien Statement" is the closing 10 1/2 minute epic. It becomes uptempo quickly with vocals, a beat, guitar and mellotron. The tempo changes often on this one.

I understand their next one is better and that Robert Calvert guests on it. Unfortunately I don't think even Robert could save this one for me.

 Every Pixie Sells A Story  by MOOR, THE album cover Studio Album, 1993
3.00 | 3 ratings

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Every Pixie Sells A Story
The Moor Psychedelic/Space Rock

Review by tszirmay
Special Collaborator Crossover Team

4 stars 17 years without a review here ! fix that real quick!

I have this one sitting pretty but quietly, like a shy girl at a timid prom just waiting for an invite to dance. Well "Whiter Shade of Pale" this isn't I can guarantee you , rather way beyond the Pale if you catch my cosmic drift! This obscure Swedish band is an immense enigma at first listen, leaving the listener somewhat unable to rapidly get one's bearings, I mean is it Alternative , is it Industrial like Ministry, gothic like Bauhaus or harsh electronic like Killing Joke? Or is it just old fashioned space prog, albeit with a deranged twist ? All of the above really, the music is austere with constant bursts of raging mellotron, angular guitar and driving beats. Peder Jansson is the crafty guitarist, Kenneth Magnusson the 'tronman and synthesist as well as the Moorochestra on dual drums, dual bass (Stefan Renstrm of future Simon Says is a star) a second guitarist and a sax blower. They all relish in the role of hawkfans and play accordingly : brutally frank and unrelenting . But the true deviator is the gruesome and bleak vocals from Hans Moll, who can recite one moment and growl the next. On the sizzling opener "Consider Death" (see what I mean by macabre?) ambient synth scapes often enter the fray as if to somehow anesthetize the foreboding and morbid onslaught. Once you start getting into it, the genius shines through like when the bass rumbles through the haze, the sparkling guitar right behind and poised for the soar. "Neo- Futurist Fantasy "(now that's what I call a title!) slings the enjoyment in a totally late 80s groove, reminiscent of weird groups such as A Split Second, Cassandra Crossing and Moev, full of nasty lyrics about "unshaven legs, small tits and big asses" and a few f*** bombs thrown in for good measure! Gloomy fun! "Candlelight" is closer (oops!) to Joy Division with synths, a haunting mellotron sweeping through the fray, monolithic pounding and a supremely detached voice that has some Robert Calvert leanings (which is a very good thing). "Now" features a gripping axe solo, lusty and abrasive towards the plaintive voice, a sheer document on delirium of the wildest kind, while "Night & Day" is nearer territories covered by odd 90s bands like Trisomie 21 and Front Line Assembly, who where more electro-punk than progressive , relying almost exclusively on synths and computers to wreak their brand of havoc. But when church organ appears out of nowhere and ushers in even more grandiose mellotron (especially the choir samples for which I am a total gaga sucker), how can you not be enthralled, enraptured and flung into a very original style of prog. The Hawkwind vibe appears very evident on "Angels of Death" (another cheery title!) since it was penned by Hawkman Dave Brock and there is nothing here but celestial bliss, a screaming rocket groove that even has those Moev style vocals as Moll intones "We Are Warriors on the Edge of Time", absolute fun if you are not expecting complexity but just sonic delight as with the whistling synth solo that careens frantically over the horizon, the merciless binary beat unforgiving. Superb song! "Mines of Moria " is a brief ambient interlude that lays the groundwork for the epic "Alien Statement", a 10 minute + galactic crusade where Moll recounts how "My craft is loaded with vicious anti-matter" (laughter track!) and where the mighty Magnusson mellotron rules again supreme in most brilliant fashion , verging almost into the experimental and the symphonic. Unexpected after all the relative minimalist onslaught. While perhaps not everyone's cup of tea but under certain circumstances, this album will provide a lot of enjoyment as well as a slick conversion tool towards prog from fans of the above mentioned. You never know, they may actually succumb to the heady sounds and endless voyages! I cannot wait to hear about some of your comments, as Space/Psychedelic fans, as well as Heavy progsters will love this stuff, as long as they have an open mind. Give it a try ! 4.5 wading bogs

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