PHANEROTHYME

Here's an album that I just stumbled upon when I was researching music for a two radio show on busy-man Ketil Vestrum Einarsen. I've always liked Motorpsycho, but I only discovered them in 2010 with Heavy Metal Fruit. I've never made time to backtrack into their voluminous discography--until now! And, wow! Am I glad I did! The band wasn't always so grungy, so heavy! They were actually light, diversified, folkie, and humorous! What a surprise! This is such a fun album to listen to--so many fun songs from such a variety of styles--and so much less treatment of the instruments and Bent's lead voice.

1. "Bedroom Eyes" (2:18) gentle folk rock with great Beatles-like melody. (4.5/5)

2. "For Free" (5:13) rocking with that chunky bass, this is more like the electric Dylan imitators--though lighter and bouncier than Dylan. Great engineering with beautiful orchestral support. The instrumental section is definitely the best--where everything comes shining through. A song that really grew on my with repeated listens. (8.75/10)

3. "B.S." (3:41) opens with a 1960/70s sound and feel. I love Bent's unadulterated, vulnerable vocal. Great instrumental section in the second minute--kind of Jimmy Webb/Burt Bacharach. Nostalgic yet fresh and so enjoyable. This sounds more like the upbeat, poppy side of countrymates BROTHER APE. (9/10)

4. "Landslide" (4:38) orchestral opening gives way to BLIND FAITH-like acoustic guitar, piano and vocal. Bass and drums join in for the second verse. A different lead vocalist for this one. Quirky and funny--like an early prog song--a cross between CSN and early solo Paul McCartney. Great composition with great engineering and vocal harmonies and awesome orchestral arrangements. The instrumental finish is the best. (8.75/10)

5. "Go to California" (8:01) Like an experimental Brian Wilson piece. After the a cappella vocal opening, a great pulsing beat is established with upbeat guitar and keyboard-supported chord sequence. Love the playful flute flitting in and out of the song's vocal and instrumental lines. Great vocal arrangements for the collective throughout--culminating with a great chorus. Big key shift in the third minute leads into a DOORS-like "Riders on the Storm" heavily-treated electric piano solo in the fourth and fifth minutes. I would go so far as to say that the band is fully intentional with its imitation and even replication of some of THE DOORS' soli in this instrumental section--both Fender Rhodes and electric guitar. But it's done so well, so tastefully--one of the best, most respectful and yet inspired "covers" I've ever heard. (19/20)

6. "Painting the Night Unreal" (6:31) slow, late night jazz; sounds like something George Harrison would have done impromptu with a lounge jazz combo. Another different lead vocal style here--a more gentle, sensitive vocal approach. Nice, confident (ballsy) composition. In the fifth minute it gets dirty and grungy as the singer shifts into a raspy screaming voice à la Paul McCartney in some of his more forceful vocal performances. Could be Spirit or another one of the blues-rock proto-prog bands of the 1960s. (8.75/10)

7. "The Slow Phaseout" (4:30) Nice Jane's Addiction/Porno For Pyros-like song. Great chorus. Once again, the instrumental passages are so magical, so subtly sophisticated. Such great composers! (Funny video, guys, with that all-female cover band sitting in your places.) (8.75/10)

8. "Blindfolded" (3:44) soft picked acoustic guitars and piano support easy-going Steve Winwood-like vocal performance. Great rhythm tracks and orchestral support. What amazing arranging/composition skills! Plus a great vocal/lyrical performance. Definitely a top three song for me among a whole album of great songs. (9.25/10)

9. "When You're Dead" (4:52) twangy electric guitar, banjo and horn provide opening weave but are totally supplanted by acoustic guitar when gentle whispery vocal enters. Nice melodies, but I don't like the chorus--a bit abrasive and messy with so many instruments joining in all at once: it's almost startling! Great trumpet solo over such a beautiful passage in the third minute--once again, such great orchestral support. I;m torn: there are parts I LOVE yet parts that irritate me. (8.75/10)

Total Time: 43:31

Single release bonus: "Go to California" (3:11) Like an experimental Brian Wilson piece. After the a cappella vocal opening, a great pulsing beat is established with upbeat guitar and keyboard-supported chord sequence. Love the playful flute flitting in and out of the song's vocal and instrumental lines. Great vocal arrangements for the collective throughout--culminating with a great chorus. (9/10)

B+/4.5 stars; a near-masterpiece of progressive rock music--despite being rather imitative of the 1960s proto-prog era of music, these compositions are so masterful as to supercede anything that has come before. This album is such a delight, such an amazing display of compositional genius, that I just have to bump it up as a five star masterpiece!

Definitely my favorite Motorspycho album I've ever heard--and an instigator to further explorations of the band's past. I'm just blown away!