The Other Side EP
. With more catchy songs than ever and a strong link to the 60’s roots of pop, rock and psychedelica MARSMOBIL have re-focused their activities and created a pop album of classic dimensions based on Roberto’s outstanding skills as songwriter, arranger and multi-instrumentalist.
01 Ordinary Boy (Radio Edit)03:38
02 Patience (Radio Edit)03:16
03 Cry For A Day05:08
04 Grassland And Pastures04:10
06 David D04:30
ROBERTO DI GIOIA the musical mastermind behind MARSMOBIL gives us with The Other Side EP first insight into the amazing new musical world of MARSMOBIL’s upcoming album scheduled for the end of March 2010 on Compost Records. With more catchy songs than ever and a strong link to the 60’s roots of pop, rock and psychedelica MARSMOBIL have re-focused their activities and created a pop album of classic dimensions based on Roberto’s outstanding skills as songwriter, arranger and multi-instrumentalist. Almost every single instrument on the album, ranging from the Antonelli childrens organ (he started to play as a five year old kiddo!) to Mellotron, drums, bass, piano, organs, acc. and elec. guitars, sitar, percussion, chimes, marimba, cello and even a blues harp was played by ROBERTO DI GIOIA himself, who, ever since his childhood, has earned himself a reputation as musical “Wunderkind”. Gifted with talent he was employed to play right after he left school at the age of nineteen with big names like ART FARMER, WOODY SHAW, JOHNNY GRIFFIN, JAMES MOODY, MEL LEWIS, BUSTER WILLIAMS. Invitations to play in the States followed soon after and with less than twenty years he was already a known figure in the Jazz scene. From there his journey led him over the years around the world on tour with various musicians, as well as through musical worlds ranging from Jazz to Indie Rock - he worked with THE NOTWIST on their outstanding Neon Golden album - to electronic - works with CONSOLE, PETER KRUDER (of KRUDER & DORFMEISTER fame) and just recently for the new DJ HELL album - to pop - with German pop music superstars like UDO LINDENBERG and just lately MAX HERRE. He was even invited to join CHARLIE WATTS from the ROLLING STONES on the recording sessions of the Music Of The Rolling Stones tribute album! In the same vein as his journeys through musical worlds whilst working with others, Roberto has developed his own project MARSMOBIL. Step by step MARSMOBIL has evolved from the more acid jazz inspired first album Strange World on ACT, through the critically acclaimed Minx on Compost with its first steps into the world of pop, to the current full-fledged pop album soon to be released. But before the official release of the new album, The Other Side EP already unveils MARSMOBIL’s new world perfectly and reflects the music and the concept that has driven the whole project. It’s almost like a smaller version of the album, a bit more introverted, with less radio singles and a bigger share of intimate and personal songs than the full length THE OTHER SIDE. The Opener of the EP is the fantastic radio single Ordinary Boy (Radio Edit) with its great hook-line and positive vibe. This song takes its inspiration from the least thing you might expect while listening to it: From our negative sides. The not-so-special-sides we all have. The things we dislike in ourselves. This is THE OTHER SIDE of everyone. We are all more or less just Ordinary Boys and Girls so why not accept the unavoidable and turn it into something positive: Yes we are! Right after Ordinary Boy you can listen to another radio edit (actually rather a version due to its extra third verse featured only on the EP) of what could be easily named the albums theme track: Patience. This song acts as an intro to the album as well as the outro. The first verse of this song and the first verse to be heard on the album at all asks the question that has driven the whole Project: (Why Don’t You Take) The Other Side? Quite unusual for the album this track is less songwriting orientated and – although in fact not sampled but played – more loop inspired than the rest of the album. With its repetitive structure you can easily place it in the context of Roberto’s recent work with names like DJ HELL, PETER KRUDER and CHRISTIAN PROMMER. Obviously one more SIDE of the many SIDES of MARSMOBIL. Hence it’s not surprising that exactly this track has caught the ear of HELL himself (Marsmobil’s new single is more than slamming, got it from Pepe in Miami, congrats!) and of MICHAEL MAYER (KOMPAKT) and AKSEL SCHAUFLER aka SUPERPITCHER who immediately decided to do their own remix under their moniker SUPERMAYER which is going to be released on KOMPAKT in January. A story almost too good to be true since Patience indeed pays homage to another KOMPAKT co-owner and legend: WOLFGANG VOIGT. The story goes like this: While visiting Peter Kruder’s Studio in Vienna during one of the recording sessions, Roberto – a dedicated cook – prepared a meal for Peter and Christian Prommer – two dedicated gourmets – who in turn were preparing themselves for a DJ gig due the same night. Both DJ’s were playing tracks to each other while Roberto was cooking. Than suddenly one of the tracks caught Roberto’s ear: Geduld (the German word for Patience) was released by WOLFGANG VOIGT under one of his many aliases FREILAND a while ago on one of the KOMPAKT compilations. Roberto immediately fell in love with the track and right on the spot used a paper napkin to develop a new song from its basic structure not knowing who inspired him. Some weeks after - while developing a longer version together with Peter & Christian – they even got inspiration again from another KOMPAKT artist: SUPERMAYER. Their remix for Rufus Wainwright’s Tiergarten served as a blue print for the balance of the vocal and instrumental parts in the long version of Patience. Hence Roberto was more than delighted to hear about KOMPAKT’s interest to close the circle of references and cross-references with their own remix. Next, the album version of Cry For A Day - a song that - according to Roberto - is one of his favorite songs of the album serves almost as a prayer with its constantly evolving repetitive verse that calls for “A day of love”. After the first three songs that are either radio versions of album tracks or, as with Cry For A Day the original album version, the second part of the EP consists solely of exclusive songs that are not included on the album but could perfectly fit into it. Grassland And Pastures is by far the most psychedelic song recorded during the sessions for (Why Don’t You Take) The Other Side? and obviously draws a straight line from Sid Barrett , over Julian Cope (with whom Roberto shares a strong affection for 70ies German Kraut Rock as you can easily hear on the Bonus BLACK ALBUM that comes along with the first 1000 copies of the album) to the present. It’s based on a poem written by Roberto earlier about a dream which features a man hugged by horses and cows and the communication between mankind and fish that swim upside down. Run is another very introverted and slow track that was inspired by independent actor / director / musician / icon Vincent Gallo about a girl that runs away from love. The last track of the EP - a fantastic piece of folk-psychedelica - is David D. A song about a young good-for-nothing resting in bed, narrating his daydreams to his 50 year old lover while she is making him coffee.