- The Tower (08:44)
- Bartok Of The Universe (06:08)
- A.S.F.E. (06:53)
- Intrepid Explorer (09:52)
- Stardust (03:34)
- In Every Dream Home (08:35)
- The Maypole (03:39)
- A Pacific Sonata (15:30)
- The Cuckoo (07:29)
- Ship Of Fools (14:41)
Tomas Järmyr - drums, percussion, vocals
Bent Sæther - bass, vocals, guitars, keyboards
Hans Magnus "Snah" Ryan - guitars, vocals, keyboards
and Alain Johannes: vocals (3), messenger guitar (4, 7), cigar box guitar (4), flute (6)
Reviews / Notes:
Maybe remaining Motorpsycho founders Bent Sæther and Hans Magnus “Snah” Ryan feel they have something to prove with their latest long-player, The Tower. For what it’s worth, they’re probably mistaken about that.
The Trondheim natives are already in Norway’s Rock and Roll Hall of Fame, and since first getting together in 1989, they’ve become a crucial influence in progressive, heavy and psychedelic rock across Scandinavia and greater Europe.
They’ve scored plays, collaborated with orchestras, written commissioned works and been heralded by audiences and critics alike. Though they’re viciously under-known in the US, they’ve released upwards of 20 LPs, plus other singles and short releases, at a blazingly prolific rate, and constantly offered their listeners sonic development while retaining an identity that is unmistakably their own. Books have been written about them. Films made. To put it another way, they’re a big frickin’ deal, and they have been for quite some time.
In 2016, Sæther (who handles lead vocals, bass, guitar, keys and drums and also played in Spidergawd for their first three records) and Ryan (guitar, vocals, keys, bass and various other strings) said goodbye to longtime drummer Kenneth Kapstad (also and still of Spidergawd) following the particularly proggy Here be Monsters full-length, and with The Tower (released by Rune Grammofon in Norway and Stickman Records for the rest of Europe), they’ve redirected their efforts toward sounding fully reenergized.
No doubt the acquisition of drummer Tomas Järmyr has something to do with that — the infusion of fresh blood seems to have brought a restorative effect even to the pacing of serene, drumless moments like the harmonies of the Mellotron-laced “Stardust” — but however it got there, The Tower comes across as a burst of creativity from Motorpsycho, continuing the progressive, forward march of Here be Monsters while also landing with a considerably heavier tonal impact on songs like the opening salvo of the title-track and “Bartok of the Universe,” as well as “In Every Dream Home (There’s a Dream of Something Else),” and the closing pair of “The Cuckoo” and “Ship of Fools.”
Now, it can be a fine line, because The Tower still shares plenty of the post-Greg Lake-era King Crimsoned progadelic pastoralism of its predecessor, but to put it in terms of that band, it’s like the difference between “The Court of the Crimson King” and “21st Century Schizoid Man,” where Here be Monsters is the former and The Tower is the latter. Still in the same vein, but by seamlessly integrating Järmyr into the trio, Motorpsycho can remain as intricate in their composition and arrangements as they were with Kapstad behind the kit, while offering more thrust behind The Tower in cuts like “A.S.F.E.” (an acronym for “a song for everyone”), which seems to imagine what would happen if “Weird Al” Yankovic decided to go space rock — hint: it would be awesome — and the subsequent “Intrepid Explorer,” which builds in a patient swell of melody to one of the album’s most satisfying payoffs before receding into the folkish “Stardust.” Of course, Motorpsycho are still very much Motorpsycho, but as they have all along, during Kapstad‘s 10-plus years with the band and before that as well, they’re making efforts to reshape that definition for themselves and their followers.