The Mother Hips strong songwriting once again helps boost Behind Beyond like on “Jefferson Army” as the fictional fight against California is staged and includes lines like “we saw Red Dawn / we will fight on / they doubled crossed us / they won’t out fox us.” The slow burner is one of the longer songs on the album at almost six minutes but leaves a lasting impression with its strong groove, hard rock edges and dependable smooth vocals. When the group comes together and sings “get it while you can / man is not the man / wrapped up in your fantasy / back into the ocean” the song surrounds you with its 70’s warmth. This sound comes through right from the rolling strums on opener “The Isle Not Of Man” as the Hammond organ plays in the background as Tim Bluhm’s quiet and floating lead vocals fill your speakers with The Mother Hips smoothness.
#Behind the beyond review full#
Now on their eighth studio record and first full length since 2009’s Pacific Dust, The Mother Hips return with an album of California country-tinged melodies that melds their past together with different sides and highlights that their style of music never ages even when the band does.
Depending on the album, the band has been labeled over the years into different genres such as jam bands, psych-country groups and indie popsters.
Kathrin Wildner, urban anthropologist, member of metroZones Berlin.Fire Note Says: The Mother Hips return with another solid batch of California country-tinged melodies.Īlbum Review: How old were you in 1993? I only ask because that would be the year The Mother Hips released their debut album, Back To The Grotto, on Rick Rubins American Recordings. Her work is based on intensive conceptual research, many years of work experience in participatory urban policy contexts and outstanding graphic interventions. Tanja van de Loo, graphic designer and developer of practice concepts and campaigns. Her award-winning sound designs and radio plays have been performed in numerous theatres and festivals. Katharina Pelosi, audio artist and sound designer in the field of performance, radio play and installation. It is thus a necessary extension of knowledge transfer.īehind/beyond can be read as an ongoing circle of participative knowledge production of PARB. The publication and promotion of the sound files in social media channels as formats of engaging audiences guarantees that the knowledge is fed back into current urban practices. Furthermore, in order to reach beyond scientific and artistic communities and to include political activists, political educational projects, etc., we conceptualise and compose short sound files and make them accessible on social media platforms such as SoundCloud, Instragram, and Twitter. Above all: What can we do with these formats? How can they be applied in urban actions? We will discuss these questions with urban practitioners and activists. The transfer of the formats into participatory collaboration with urban political actors will be tested and commented on in the form of re-readings and interviews.īehind/beyond has a look behind the written texts of the online publication, relating the research formats to urban politics and activist practices, discussing them with urban practitioners and feeding them into participative settings as well as alternative institutional practices.Ī close re-reading of the texts about the research formats on the website of the research project (PABR, ) is guided by questions of the HOW and WHO of thinking and acting. behind/beyond PABR looks at the findings of PABR and discusses ways of extending the (foremost academic) approach and language of the well-elaborated online text formats into other media, in order to make it accessible for wider publics. It is an important task in societies that are increasingly based on commercialised knowledge production to make research practices accessible to everybody. The aim of PABR is to make research more inclusive, more democratic. By Kathrin Wildner with Katharina Pelosi and Tanja van de Looīehind/beyond PABR is an ongoing exploration and comment on the participatory scientific-artistic research project PABR, looking behind methodological formats in order to transfer the terms and tools to urban practices and extended publics beyond scientific and artistic communities.