Review Summary: Like an upgrade to an already impressive CV.
The last couple of years have been quite challenging for Motorpsycho, who have undergone some significant logistical changes. First was the decision to function as a duo, leaving the door open for various collaborators to join future live performances and recording processes. Second, they parted ways with the record labels that handled all their music releases. However, starting anew as an independent band brought forth a renewed excitement. The result is another double album, self-titled this time, to mark the start of a new era for the Norwegian prog/psych veterans. While
Yay! and to a certain extent,
Neigh!! boasted considerable sonic restraint due to the toned down, folksy nature of the core material, their latest epic brings back the magnitude of their Gullvag trilogy. This way, over the span of 81 minutes, we receive everything from multi-segment odysseys to short, instrumental ditties. The alternative rock leanings of its predecessors are present here too, especially in the immediate, infectious grooves of "Stanley (Tonight’s the Night)" & "Core Memory Corrupt". You can also hear traces of the group’s early ‘00s pop-oriented direction as you’ll dance to the straightforward rocking, fun melodies. Moreover, the chunky, blues rock riff of "The Comeback" keeps the momentum going with its ‘70s revival vibes, a period of time much beloved by Motorpsycho.
Diving deeper into the album, we are treated to a string of expansive tracks with a lot of jamming going on. The one thing they have in common is the up-tempo main rhythms from which they develop. Krautrock certainly played an important role in the mesmerizing, locked patterns the members engage in. “Balthaazar” takes off with its cyclical drum and bass lines, allowing various embellishments such as synthesizers, Mellotron and various guitar solos to intertwine as they please along the way. Same goes for “Lucifer, Bringer of Light”, where Ryan jams for minutes on end on a seemingly looped melody. It’s nice to hear Motorpsycho breaking from the cascade of progressions of previous records to just have fun experimenting with whatever sounds they feel like. Nevertheless, these tunes can be seen as a warm up for the 21-minute centerpiece, “Neotzar (The Second Coming)”. While there are several references to the occult interlaced with today’s political environment, this epic goes all the way with its lyrical pragmatism. From the swinging groove, complete with sharp guitar leads, we’re led into progressive rock territory as a King Crimson-esque break unfolds halfway through. Once more the Mellotron does a wonderful job creating a pastoral atmosphere until things turn darker with wailing solos and distorted bass takeovers. The fog ultimately clears as another round of verses kick in. As immersive as ever, these trademark moments are just as rewarding over a dozen LPs later. In between them, various ditties pepper the listening experience, whether it’s the folksy “Laird of Heimly”, “Bed of Roses” or the piano-led interlude, “Kip Satie”. Of course, there is more to explore until the closing “Dead of Winter”, a sweet indie rock type number which, dare I say, features a smooth Santana vibe on its instrumental latter half.
To sum things up, Motorpsycho crafted a record that simply displays their love for making music. It turned out the opposite of preceding prog epics, as they infused just the right amount of the genre into the playful, alternative rock oriented material to keep it lighter yet very engaging. The production sounds lovely too, each instrument can be heard clearly in the mix even on the layered, heavier moments. The duo effortlessly presented us another excellent LP which takes further steps into their own sonic path, while offering a brief resume of their activity over the last couple of decades. It might not be their definitive work, but that’s hard to judge with so many strong entries in their catalogue. Most importantly, 36 years into their career, the duo still forges ahead with no signs of slowing down.
