MOTORPSYCHO

Another year, another Motorpsycho record. This time, it seems the band is trying to atone for their missteps on the previous two albums, which, in my opinion, strayed far from what Motorpsycho is all about.

Yay! (2023) and Neigh!! (2024) have little to do with the band's usual discography. They blamed the pandemic, but was the real issue that they simply needed a break? Maybe.

Now, Motorpsycho has released their self-titled album?and it's really good. They've paid their dues with this one, delivering a record that's a million times better than their last two.

The band is back on track, with both great epic tracks and strong shorter ones. They shift from a Jimi Hendrix vibe to Soft Machine, passing through Frank Zappa and King Crimson along the way.

The signature vocal style, with that Leslie effect reminiscent of Jerry Garcia, works wonders here. The bass and guitars riff like the best of Jimmy Page and John Paul Jones, while the vintage keyboards? Mellotrons and Moogs add depth and texture.

The record kicks off with "Lucifer, Bringer of Life," an obscure piece of dark psychedelia and proto-heavy metal, whit a great guitar work reminiscent of the guitar tandem of Duane Allman and Dickie Betts from The Allman Brothers Band. This song puts everything where it belongs.

Then come some familiar Motorpsycho staples and instrumentals: "Laird of Heimly" sounds like something off Led Zeppelin III; "Stanley (Tonight's the Night)" and "The Comeback" are upbeat, pop-tinged tracks with a 70s feel; "Kip Satie" is a solo piano piece that serves as an intro to "Balthazar," a trippy psych-prog journey; and finally, "Bed of Roses" closes out the first disc beautifully.

The second disc starts with the mighty "Neotzar (The Second Coming)," the best song on the record. This 21-minute epic blends jazz, prog, and psychedelia, feeling like a continuation of NOX, the great suite from The All Is One (part of the Gullvåg Trilogy).

At times, the album feels like it could be a concept record, with recurring musical motifs and an overarching sense of cohesion. While not officially labeled as one, there's a clear structure tying everything together, making it more than just a collection of songs.

The pop-driven "Core Memory Corrupt" offers a moment of lightness before the album's final stretch. "Three Frightened Monkeys" is another standout, stretching nine minutes with a hypnotic, evolving groove. And then comes "Dead of Winter," the perfect closer?melancholic, grand, and reflective, bringing the album to a powerful and fitting conclusion.

With Motorpsycho, the band has proven once again why they're one of the most consistently adventurous groups out there. After a couple of missteps, they've returned with a record that reminds us exactly why we fell in love with them in the first place.

And then there were two: the Psychonauts' two founding members . . . and a bunch of hired hands. The realities of the modern way of making and publishing music has finally dawned on Bent and Hans.

Disc 1 (40:49) 1. "Lucifer, Bringer of Light" (10:49) off to the races we go straight from the first frame--especially with metronomic JAKI LEIBZEIT-like drummer Ingvald Vassbø in the driver's seat. The harmonies on the team vocals are rather weak, even discordant at times. The song's chord structure is fairly straightforward with only a few interesting bridges or instrumental passages. The WHO "Baba O'Riley"-like third minute starts off interestingly but then devolves into a fairly straightforward ALLMAN BROTHERS-like guitar solo--and then slightly more interesting LYNYRD SKYNYRD-like duet/duel. This goes on until the ninth minute when the boys try to come back to a slightly-more sophisticated (and infinitely more interesting) variation on the opening theme for more vocals. (17.5/20) 2. Laird of Heimly (3:54) 3. Stanley (Tonight's the Night) (4:10) 4. The Comeback (4:32) 5. Kip Satie (2:25) 6. Balthazaar" (11:40) bug-buzz-saw playing around until Krautrock motif steps into play at the 0:56 mark (with a bass line that is a variation on the famous "Peter Gunn" riff). The team vocals are okay, melodic and smooth, I just don't know (or care) what they're singing about. Guitar solos with a variety of guitar sounds (one very Allman Brothers-like). Halfway into the song I'm finding the motif to be more annoying than hypnotic, this despite all the different guitar sounds and the addition in the sixth minute of piano chord hits. A turn given to synths for solos in the seventh minute provide a little diversion/relief but then we're right back into the rut for the next vocal section in the eighth minute. Around the eight-minute mark the band shifts a little (mostly drummer Ingvald Vassbø's drum beat and style) and then synthesized guitar takes off for the next solo (with the next sound). The eleventh minute brings us around to the final vocal section while the instrumental parts of the song show signs of cracking and, perhaps, dissolving. No such luck. And then there's the whole travesty of focusing a song about "Balthazaar" much less using the word as the exclusive occupant of the chorus's main lyric, repeated over and over. Sorry guys! This just doesn't live up to the high standards of your tremendous body of work! (17.375/20) 7. Bed of Roses (3:19)

Disc 2 (40:50) 8. Neotzar (The Second Coming)" (21:07) pretty weird and lame for the first 2:40 with piano-like guitar notes backing singer Thea Grant, but then the band kicks in with some decent cruise-drivin' music over which another lame vocal (and equally-lame background vocal) is set. The Mellotron strings work is mismatched and the guitar solos in the mid-section are just okay. At 8:15 there is a break before harp-like "heavenly" music fills a minute and more while, eventually, electric guitar plays a spacious series of mindless notes for another minute or so. In the eleventh minute some chords begin to form from behind, orchestral washes. At 12:15 some ominous and acerbic notes and chords begin amping things up until there is about 90 seconds of almost-UTOPIA/MAHAVISHNU/ZAPPA-like cacophony up to the end of the 14th minute. But then things smooth out and return to the main Motorpsycho highway though a more-subdued electric guitar continues soloing into end of the 15th minute before being rejoined by the other guitarist--who then takes over in the sixteenth. Man! It feels as if these guys have really been chompin' at the bit to have some loose solo time--even some vicious duels. Drummer Ingvald Vassbø really ups the chaos in the seventeenth minute but then things straighten out again for some piano and synth leadership--just before male vocalist steps in with a lame vocal. The final three minutes continue this piano-pounding palette while the guitarists (and vocalists--in the background) speed along toward the 21st minute in which they break it all down into bare-bones guitar and Mellotron note picking to the song's end. Interesting and sometimes exciting--especially if you're just into guitar shredding--but really not a greatly engaging or memorable song. (34.75/40) 9. Core Memory Corrupt (5:38) 10. Three Frightened Monkeys (8:41) 11. Dead of Winter (5:24)

Total Time 81:39

An album that feels like the two have rustled through their closets of old songs that had never made previous albums and dusted a few off for fresh renditions. I can see why most of these had been left in the closet. Even the ones that feel fresh are filled with either too much chaos or too much noodling: not the stuff that have kept me loyal to the cause for over 16 years.

You know, I didn't expect them to release a new album this early in the year, since usually it happens much later. That said, who cannot complain about a new Motorpsycho release? It's basically tradition at this point. Last year with Neigh!!, I felt like that album was likable, but certainly a step down from what the band had made prior. However, I was still cautiously optimistic when it came down to their next album. Keyword cautious, cause I didn't quite know if they'll double down on what they had on Neigh!!, or go to richer endeavors. Oh boy how glad I was when this dropped, because along with it came my caution crumbling down into just pure optimism.

Motorpsycho's...Motorpsycho (It feels weird to say the band's name twice when the album is named after themselves) is probably their first big BIG release in a long while, since The All Is One. Big, as in a masterpiece! Been a hot minute since Motorpsycho made peak like this again, and boy howdy is it incredible!

Despite having a career spanning over 34 years, they still manage to make some very original music, and honestly this record feels like a manifesto of all their great moments bundled into one package.

For example, you get some really fun and trippy psych rock tunes with tracks like Laird Of Heimly and Dead Of Winter. Motorpsycho's psych rock movements are always really strong no matter the album, and this recent endeavor is no exception. Y'all know how much I love those psych rock/pop tunes they made during their more extensive psychedelic workouts in their albums from the early 2000s, and the psychedelic tracks off this record are like a modern example of what they had done during those days.

Honestly, shoutout to Stanley (Tonight's the Night) especially, cause that song has a structure that gives me Go To California vibes. Obviously a lot shorter, but that guitar solo at the end felt very much like something that could come from Phanerothyme.

Though, the real treat here is the progressive rock. While on the Neigh!! review, I did say that I didn't really jive with the band stepping back into more proggy familiar grounds, I do think them doing it on here is a lot more acceptable, mostly because, well, it sounds fresh! Whenever I listen to songs like The Comeback, or Three Frightened Monkeys, my mind wonders how they can still manage to push the progressive rock envelope to new heights. The prog songs honestly sound like a mix between the harder edges of The Crucible or Heavy Metal Fruit, with some of the more jammy sides of Little Lucid Moments and Still Life With Eggplant.

Oh yeah, speaking of jams, this record has a prog epic! Been a bit since we've seen a proper 20 minute Motorpsycho score. Neotzar (The Second Coming) is just superb honestly, certainly a highlight for me and for most people as well. I mean, they never really missed on an epic, aside from that one time with Jaga Jazzists, but even still who cannot complain about a properly amazing Motorpsycho jam? It's creepy, it's weird, but I think Neotzar is one of the best tracks Motorpsycho has made in a long while.

Honestly all the long songs here are highlights for me. Lucifer Bringer of Light is such a good opening, especially how the band implemented more krautrock grooves into it. Gave me some really strong Amon Düül II vibes, which I think is always appreciated. Cannot go wrong with some good ol' psychedelic infused repetition.

But also, one of the real top of the line songs on here has to be Balthazaar. When I first heard it, specifically the intro with that crunchy, almost video game-esque tune at the start, I already knew that we were so back. I am listening to the song right now as a matter of fact, and it still hits as hard as it did when I heard it the first time. I can already tell that I will listen to this track more times than I can count this year. It's just too good honestly, almost addicting.

However, I think one of the strongest highlights, in fact maybe it is the strongest, is Kip Satie. Now, you may be asking, why Kip Satie? Well, while it's certainly not my favorite track on here, hell I'd say it and Bed of Roses are the weakest here, it was the track that made me realize something...no matter what Motorpsycho will still be Motorpsycho.

Now that may sound obvious, but hear me out. While it's true that pretty much every band under the sun changes things up every once and a while, maybe every new album if you're lucky, I find that Motorpsycho still always felt like themselves even with lineup and musical changes.

Even if they make long winded prog rock jams, they're still Motorpsycho.

Even if they make live albums that have excessive noise complaints, they're still Motorpsycho.

Even if they make ambient albums for imaginary films, they're still Motorpsycho.

Even if they do country covers of their own songs, they're still Motorpsycho.

Even if they do hardcore and sludgy grunge music. They're. Still. MOTORPSYCHO.

That is why I think this record is simply called Motorpsycho. Motorpsycho will forever be Motorpsycho. Whether it be on Lobotomizer, or here and now, Motorpsycho will always be Motorpsycho. They're a band that infinitely changes, like a butterfly that has phoenix mechanics. No matter the album, no matter the song, no matter the momentum, Motorpsycho will still make songs that FEEL like Motorpsycho, because they are Motorpsycho.

I suppose Motorpsycho, with Motorpsycho, is Motorpsycho. All as one, as it should be. Anyways yeah this album is pretty good you should check it out or something.

Best tracks: Lucifer Bringer of Light, Stanley (Tonight's the Night), The Comeback, Bathahaazar, Neotzar (The Second Coming), Three Frightened Monkeys

"Worst" tracks (but they're still pretty good): Kip Satie, Bed of Roses

Motorpsycho; A Life in the Eternity of Exploration

All the music you've heard before from Motorpsycho feels connected to this record, but nothing is quite similar. The Death Defying Unicorn is their first truly grand piece of music and their most ambitious to date. It's the album that establishes their style. After 20 years of experimentation, the band finally found their own voice. Released in 2012, this record marks a daring collaboration with Norwegian jazz virtuoso Ståle Storløkken, blending Motorpsycho's progressive rock with orchestral and jazz elements. Supported by Trondheimsolistene and the Trondheim Jazz Orchestra, this ambitious double album dives into deep, uncharted musical waters. The Death Defying Unicorn is a concept album that tells the tale of a sailor who, when faced with the choice of death by hanging or life at sea, embarks on a dangerous journey to explore the mysterious "Hollow Lands." The story is full of metaphor, with the protagonist's physical journey reflecting his inner turmoil, framed by ancient mythology. The music evolves with the story, filled with crescendos, and moments of stark beauty and terror.

1.Out of the Woods (Overture), The album begins with a chaotic instrumental that feels like the start of a storm. Eerie strings and brass create tension, setting the mood for the journey ahead.

2.The Hollow Lands, This is where the story starts. The sailor must choose between death or a dangerous voyage. The music mirrors this decision, blending vocals and orchestration to give the sense of leaving shore and heading into the unknown.

3.Through the Veil, This 16-minute track is the heart of the album. It begins quietly but builds into a massive storm of sound. The orchestra and rock instruments create the feeling of being lost at sea in a fierce storm.

4.Doldrums, After the storm, this song slows things down. The sailors are stuck in eerie calm. The music creates a sense of despair and being lost.

5.Into the Gyre, The pace picks up again with this chaotic track, representing the ship being pulled into a dangerous whirlpool. The music is intense, mimicking the force of swirling water.

6.Flotsam, A short instrumental that reflects the aftermath of the shipwreck. It's a quiet moment of reflection after the chaos.

7.Oh Proteus A Prayer, The sailors, lost at sea, call out to the sea god Proteus for help. The music is atmospheric, creating a feeling of isolation and hopelessness.

8.Sculls in Limbo, Another short instrumental, this track captures the crew's mental confusion as they drift with no direction.

9.La Lethe, Named after a river in Greek mythology, this song represents the crew's descent into madness. The music is haunting, with a trance-like quality.

10.Sharks, This dark track tells the story of the ship's officers turning on each other in desperation. The slow build- up mirrors the growing tension and fear.

11.Mutiny!, Full of energy, this track represents the protagonist's revolt against the officers. It's more straightforward rock but still intense.

12.Into the Mystic, The album ends with a reflection on the journey. The music returns to earlier themes, giving a sense of closure, though not a clear resolution.

The album is beautifully mixed and produced, showcasing the band's musical abilities. Motorpsycho didn't do anything like this in term's of composition until the Gullvåg trilogy, nothing that the band made after this is similar. The Death Defying Unicorn, achieved a special sound, making this an unexpected and unique listening experience.

The Tower Of Prowess

If you start listening to Motorpsycho with albums like Kingdom of Oblivion or The Crucible. Maybe The Tower, feel or sounds weaker in terms of progression. But if you start with The Tower, you'll see it as the beginning of a big turning point in their career. It's not where their journey begins, but it's a good place to start. You might discover the 'Tower' of sounds Motorpsycho built on this album.

The Tower is the first part of the Gullvåg trilogy and is heavier than their earlier albums, at least compared to the last 10 records. With this album, the band seems more confident in their playing. They mix elements from their past records like Let There Be Monsters and The Death-Defying Unicorn. The sound shifts between heavy, aggressive parts and softer, more thoughtful moments.

The Tower feels like both an end and a new start. It's big, exploratory, and full of different sounds. Even after almost 30 years, the band is far from predictable. On The Tower, with Tomas Järmyr on drums, they deliver a double album that is both ambitious and carefully crafted. Their influences range from Pink Floyd to heavy metal, with touches of Yes, Grateful Dead, and King Crimson. The album starts with the title track, which combines Mellotron-driven sounds and strong riffs. Bent Sæther and Hans Magnus Ryan sing in harmony, sounding like classic rock from C.S.N., but with a rawer feel.

The Tower shows a band that keeps evolving but stays true to their roots. It's heavy and progressive. Songs like "Bartok of the Universe" and "A.S.F.E." bring heavier energy, mixing the force of the 70's heavy metal with the surprises of early King Crimson. This mix of aggressive rock and complex prog keeps listeners hooked and often surprised.

The long track "A Pacific Sonata" changes the mood, bringing in a more calm, reflective vibe, that feel like a warm Scandinavian nights. The band's ability to switch between these moods shows their skill at creating dynamics, making The Tower a journey through light and dark.

One of the best things about The Tower is how, even with its wide range of influences?from soft to heavy?it never feels disconnected. Each song flows into the next, finishing with the epic "Ship of Fools," a song that captures the band's style: big, cinematic sounds that stay with you long after the album is over."

The Tower is a great record well produced with a great sound. It serves as a strong opening for the upcoming trilogy. Perhaps The Tower is the weakest album of this trilogy, but even as the weakest, it is still a masterpiece .

Forging New Paths

The Crucible is the second album in Motorpsycho's Gullvåg Trilogy. It can feel like the middle child?sometimes ignored or misunderstood. Fans of The Tower, the first part of this triad, might not fully appreciate it or may feel let down, while those who love The All Is One, the third part, often feel more connected to The Crucible. It's a very complex work with intricate compositions, a great mellotron atmosphere, excellent mixing and production, and superb sound.

This album serves as a bridge between the two, but it stands out on its own. It's structured like a classic prog-rock album, with two long songs and one epic track. Yet, the music is pure Motorpsycho?unique and not following anyone else's rules.

The first track, "Psychotzar," hits hard right from the start. It's heavy, filled with big, aggressive guitar riffs, pounding drums, and raw vocals. Tomas Järmyr's drumming drives the song with force, and the guitar solos are sharp. Halfway through, the song suddenly switches gears into a dreamy, psychedelic blues section. This break gives the song more depth and shows how the band skillfully blends styles.

"Lux Aeterna" is the second track. It starts softer, with gentle guitar and mellotron, which adds a warm, old-school sound. The song feels like a throwback to '70s prog-rock. Fans of King Crimson's Islands may find something very emotional here. The song moves between shifting tempos and a mix of calm and energetic parts. The vocal harmonies from Susanna Wallumrød give it a rich, layered sound, and the mellotron helps create a vintage vibe. The drums change pace several times, keeping things interesting, while the guitars shift from soft and delicate to louder and more intense. The great reed work from Lars Horntveth is really interesting and gives the track a special flavor.

The final track, "The Crucible," is the longest at 21 minutes. It starts slow and dark, building tension with subtle bass and guitar. The song flows between quieter moments and louder, more intense parts. In the middle, the band dives into a long instrumental section, playing around with different sounds and styles, creating a kind of spacey, jazz-like atmosphere. Toward the end, the song builds up to a big, powerful finish, with heavy guitar riffs and bold solos. Some listeners might feel the song loses some steam during the long jam, but it still ends strong.

The Crucible stands as a bold step away from The Tower, with the music showing clear evolution. It fits well into Motorpsycho's search for new soundscapes and represents significant growth compared to their previous work. The Crucible lays the groundwork for what Motorpsycho seeks to refine in their next record.

N.O.X The Long Motorpsycho's Musical Journey

Nyx (or Nox), the Greek and Roman goddess of the night. Nyx is often depicted as a powerful, shadowy figure representing the primordial darkness, which existed before the creation of the universe. In mythology, she was one of the first beings to emerge from Chaos, symbolizing the mysteries of the night and the unseen forces of the cosmos. Motorpsycho's The All Is One is my favorite record of the Gullvåg Trilogy, released in 2020. This album has a tremendous impact on their discography and feels like a culmination of both their artistic and musical journeys. Håkon Gullvåg's artwork complements the music visually rather than aligning with specific themes, further enhancing the sense that this is part of a larger, grand artistic project.

The All Is One offers a rich mix of styles, you can hear; Riffing heavy 70's sound, some Yes influences, Krautrock, Free Jazz and that fusion gives both the classic and experimental sides of the band. Tracks like the title song and "The Same Old Rock" instantly resonate, especially with fans of their mid-'90s sound. These familiar moments serve as a warm introduction before the album dives into more daring territory with the N.O.X. suite. This is where the album truly shines?a 42-minute, five-part journey that blends prog, free jazz, electronica, and heavy rock in a way only Motorpsycho can pull off.

1. The All Is One The album starts strong with the title track. It mixes heavy guitar and catchy melodies, setting the stage for what's to come. The lyrics talk about unity and connection, welcoming listeners to the journey.

2. The Same Old Rock This song brings back a familiar sound, reminding fans of the band's past work. It has an upbeat feel with engaging rhythms and catchy hooks. It's a fun track that makes you want to sing along.

3.The Magpie This track features a blend of melodic structures and intricate arrangements, highlighting the band's knack for crafting evocative soundscapes. The lyrics touch on themes of longing and introspection, making it both engaging and reflective.

4. Delusion This song explores the concept of perception versus reality, with a more experimental sound. The instrumentation is layered, creating a rich atmosphere that complements the lyrical themes of uncertainty and self-reflection.

5. N.O.X. (Suite) The N.O.X. suite is the heart of the album, and for me, it's what sets this record apart from the rest of the trilogy. The suite unfolds in five distinct yet interconnected movements: "Circles Around the Sun," "Ouroboros," "Ascension," "Night of Pan," and "A Little Light." It's an immersive and ambitious piece, exploring hypnotic rhythms and atmospheric shifts, creating a nearly ritualistic experience. "Circles Around the Sun" opens the suite with an eerie, meditative vibe, gradually building layers of sound. "Ouroboros" picks up with a dynamic, cyclical feel, reflecting the symbolism of the serpent devouring its tail.

"Ascension" lifts the energy higher with soaring melodies, preparing the listener for the darker intensity of "Night of Pan." This section feels like the climax, a whirlwind of frenetic drums, distorted guitars, and pulsating electronics that evoke a sense of cosmic chaos. Finally, "A Little Light" brings the suite to a calm, reflective close, leaving you in a contemplative space.

Collaborators Lars Horntveth and Ola Kvernberg add their unique touches, making the suite feel expansive, with each movement flowing seamlessly into the next. The transitions, from the ethereal "Circles Around the Sun" to the wild intensity of "Night of Pan," showcase Motorpsycho's ability to blend diverse influences without losing their core identity.

6. A Little Light This track has a lighter, more uplifting feel, focusing on hope and positivity. The melody is catchy, and the instrumentation supports a sense of warmth, making it a standout piece that contrasts with some of the heavier themes in the album.

7. Dreams of Fancy A more ethereal track, it delves into the realm of dreams and imagination. The instrumentation features lush textures, creating a dreamlike quality that invites listeners to lose themselves in its sound.

8. The Dowser This song presents a more grounded narrative, possibly touching on themes of searching and discovery. The rhythm is compelling, driving the song forward, while the lyrics encourage a sense of exploration.

9. Like Chrome This track offers a blend of heavy riffs and intricate melodies. The lyrics often reflect themes of resilience and transformation, backed by a powerful instrumental arrangement that captures the band's dynamic style.

The All Is One is essential listening for everybody that loves great music. This record is experimental, heavy, and progressive. It offers something new with every listen. The drumming is amazing, with the heavy bass leading the rhythm section. The use of mellotrons, the guitars and solos, along with all the instrumentation and execution, makes the sound superb. The production is top-notch.

For me, The All Is One is more than just a collection of songs; it's a cohesive journey. The combination of familiar sounds with bold experimentation makes the album feel complete, like the band has reached a new peak in their creative expression.

Kingdom Of Motorpsycho

The Trilogy Part 4? After their amazing Gullvåg Trilogy (The Tower 2017, The Crucible 2019, The All Is One 2020), Motorpsycho became one of the biggest names in progressive rock, joining the major leagues. Honestly, I didn't think they could do anything better after that trilogy. I even thought they might take a break or just go on tour. But in 2020, when the COVID-19 pandemic hit, everything changed. Motorpsycho went back to the studio, revisiting old songs and creating new material, but this time with a heavier, doom-influenced sound mixed with their usual prog style.

Kingdom of Oblivion, After years of reinventing themselves, the band once again finds fresh ways to mix their influences while still staying ahead of the game. The sound is thick and intense, pulling you in with raw, heavy riffs and giving you moments of softer, more thoughtful music. What stands out is how they mix the heavy with the intricate, keeping things interesting while still packing a punch.

The album starts with "The Waning Part 1 & 2," showing that the band still knows how to mix atmosphere with energy. The riffs hit hard but also add a sense of depth and feeling. Motorpsycho is great at balancing smart ideas with raw power, and this song shows that off.

The title track, "Kingdom of Oblivion," turns up the heaviness with a big, powerful sound that feels both huge and controlled. This is where the album's layers really shine, mixing electric and acoustic instruments to create contrasts between heavy and light. Songs like "Lady May 1" show off C.S.N influence that recalls the early '70s without sounding old-fashioned.

Like most Motorpsycho albums, there are plenty of surprises. Their cover of Hawkwind's "The Watcher" fits perfectly, capturing the dark, spacey vibe while blending into the album's story. "Dreamkiller" is a standout too, starting softly with acoustic guitars and then building into something much heavier. The changes in mood keep you hooked as the album moves through different emotions.

"At Empire's End" is a massive track. It draws on folk influences and grows into a grand, Mellotron-driven rhythm that feels larger than life. The song has space to breathe, with long instrumental sections that really grab your attention. Listening to it with headphones is a must to catch all the little details.

The album ends with "Cormorant," a reflective and thoughtful song. After all the intensity before it, this track closes the album in a more peaceful way, giving you time to reflect on the journey. The album flows like a story, with each song playing a part in the bigger picture.

One of the strengths of the record is its excellent production. The sound is amazing, the mix is top-notch, and the incredible artwork was created by Sverre Malling, a Norwegian artist known for his detailed and often surreal illustrations.

Even after 30 years, Motorpsycho's creativity hasn't slowed down. The band may not have broken into the U.S. or U.K. mainstream, but they've built their own unique space, where fans know they'll always get something new and exciting. Definitely worth a listen for anyone who loves heavy, progressive rock that's not afraid to get a little wild.

Kingdom of Oblivion is a big show and a snapshot of where Motorpsycho is at the moment, with songs driven by Mellotron, distorted passages, and amazing harmonies, blending folk influences. The record leaves a great impression and became in another essential masterpiece from Motorpsycho.

Motorpsycho Plays On The Cosmic Ballet.

Motorpsycho's 2022 release, Ancient Astronauts, transcends the typical album format; it melds the band's progressive rock roots with cinematic and theatrical elements. Originally composed for a ballet and theater production, the four tracks explore themes of space, time, and artistic influence, while honoring the golden age of progressive rock.

The album emerged from Motorpsycho's collaboration with choreographer Hooman Sharifi, founder of the Impure Dance Company. After providing live music for a solo dance performance. This partnership with the Norwegian theater group De Utvalgte and local dancers culminated in a film project titled Ancient Astronauts, filmed at the Ringnes Festival in Skotbu, Norway.

Just a week after filming, Motorpsycho entered Amper Tone Studio in Oslo to record the album. As a trio, they performed most of the album live, only adding a few overdubs later. Due to travel restrictions, guitarist Reine Fiske couldn't join them from Stockholm, prompting the band to take on additional musical roles. Bent Sæther described their approach as "double and triple tasking," showcasing their versatility, particularly in the intricate 22-minute track "Chariots of the Sun ? To Phaeton on the Occasion of Sunrise (Theme From an Imagined Movie)." Louder Sound aptly called it "gnarly avant-rock that grows ever more urgent and intense."

The album opens with "The Ladder," a powerful introduction that balances heavy riffs with softer, reflective moments of a cosmic journey. "The Flowers of Awareness," featuring Helge Sten on Buchla synth, serves as a brief yet impactful interlude, characterized by controlled industrial feedback and rumbling drones.

"Mona Lisa/Azrael" stands out with its ambitious, multi-part structure that combines various musical styles. It transitions seamlessly from soft, introspective passages to intense, heavy segments, creating a dynamic listening experience. The intricate guitar work and layered harmonies typical of Motorpsycho's sound provide a meditative pause before the album's centerpiece.

"Chariots of the Sun ? To Phaeton On?" is an epic 22-minute exploration of progressive rock's many facets. The shifts in dynamics evoke the emotional depth of a theatrical performance, where each movement introduces new themes and moods. It serves as the heart of the album, where the band's influences come to life.

Drawing inspiration from the early years of progressive rock, particularly between 1969 to 1974, Bent Sæther remarked, "I'd say we're pre-progressive. I really enjoy the spirit of those albums and artists." This retro influence is evident in their songwriting and choice of instruments, including multi-neck guitars, classic synthesizers like the Mellotron and Buchla, and vintage electronics such as the Moog Taurus 3. Hans Magnus "Snah" Ryan's use of a Gibson SG Standard through Marshall JMP amps adds a rich, analog texture that feels deeply rooted in progressive rock history.

PopMatters highlighted the band's ability to "manifest 1970s progressive rock for contemporary times." The production reflects this era, with much of the album captured live in the studio, resulting in an organic sound. Sten's Buchla synth work in "The Flowers of Awareness" adds depth and an experimental edge, nodding to the band's avant-garde tendencies.

Despite its grand feel, Ancient Astronauts is not a concept album. The songs were created independently, allowing for greater freedom in exploring different musical and emotional landscapes. The only true concept albums in their discography are their commissioned works like The Death Defying Unicorn and En Konsert For Folk Flest.

The album cover features images of the band members from the film created at the Ringnes Festival, visually linking the music to its theatrical roots. The band supported the album with European performances and a 2023 tour of England, marking their first tour there in three years.

As Bent Sæther noted, the title Ancient Astronauts reflects their journey as artists, picking up traces from past pioneers while leaving their mark for future generations. This connects to the ancient astronaut theory, suggesting extraterrestrial beings influenced early human civilization. In a similar vein, Motorpsycho's music serves as a bridge between past influences and future innovations, contributing to the evolving musical landscape.

With Ancient Astronauts, Motorpsycho adventures in a new territory the territory of classic bands like Yes, Grateful Dead, Soft Machine and Pink Floyd whit those epic songs of more than 20 minutes, with long jams, but now in 2024 it seems that Motorpsycho doesn't feel good in that land. but they do it a perfect job on this record, and win the status of a grand progressive band.

Neigh!! Next, please.

Motorpsycho mixes so many styles Heavy Rock, free jazz, space rock, progressive rock. A great band, one of the most amazing and original acts today. They started in 1989 in Norway, and since then, they've made almost 40 albums. Not many breaks, a few changes here and there, but always creating new music.

I first got into them with The Death Defying Unicorn, the one with Ståle Storløkken. That album is really amazing. It had an orchestra, mellotrons, analog keyboards, and it showed me a new side of the band. For me, it's one of their best records.

Then there's the Gullvåg Trilogy The Tower (2017), The Crucible (2019), and The All Is One (2020). Especially The Crucible and The All Is One. These albums are huge in the progressive rock world. The acoustic sections, the space jams, and the electronic parts in N.O.X. this is where Motorpsycho is at their peak. You'd think they couldn't keep it up, but then came Kingdom Of Oblivion (2021). Some reviewers said it was just leftovers, but no, it's darker, heavier almost like an extra part of the trilogy.

Then came Ancient Astronauts (2022), another fantastic record. It's different from anything else they've done, but still so good. The songs are epic, a kind of Yes' Relayer, influenced but dark and mysterious, more improvisational.

But then, Yay! (2023), a collection of almost acoustic songs, like C.S.N. and Simon & Garfunkel, with terrible artwork. The music is not bad, but really unadventurous for them. It felt like the band took a turn, but it wasn't interesting at all.

Now, Neigh!! (2024) is here, but it falls flat. The band seems to be reaching back to their early 2000s sound, yet nothing truly stands out. The album cover featuring a naïve puppet mirrors the music: simple, even childlike. There are traces of prog, but they're diluted, lacking the boldness you'd expect from Motorpsycho. It feels like the band didn't commit fully to either their old sound or something entirely new.

This album isn't bad, but it's far from their best. It revisits some of their mid-90s influences, blending 60s psychedelic pop and 90s alternative rock, but the result feels unoriginal. Instead of something fresh or daring, it comes off as indecisive, like they weren't sure where to go. I was hoping for a bold move maybe even a full-on pop experiment like some 80s prog bands attempted but Neigh!! just sits in the middle, neither hot nor cold.

Musically, the band plays it safe. The arrangements lack depth, the compositions feel flat, and the production is almost too polished. There are hints of their progressive roots, but they don't leave a lasting impact. Even the acoustic parts, which once packed an emotional punch in albums like The Crucible or The All Is One, feel underwhelming here.

Motorpsycho has always been capable of greatness, but Neigh!! is a step back. I still believe they have more to offer, and I hope their next album brings back the adventurous spirit that has made them so exciting in the past.