MOTORPSYCHO

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.

Every year means a new Motorpsycho album! Last year saw the release of the more acoustically inclined Yay!, and Motorpsycho continues that front into a more overtly psychedelic folk range with Neigh!! This record certainly has a different feel from Yay! That much is certain. Like many Motorpsycho releases before, Neigh!! certainly has a strong progressive rock edge to it that I quite enjoy. You certainly hear it first hand in the opening of Psycholab, being this mix of old school psychedelic rock akin to Jefferson Airplane, with that same Motorpsycho flair that I like.

In fact, I'd say the proggy elements are probably the best thing on here, probably better than what was on Yay!. Where Yay! was a record that had its strengths lie within the acoustic driven psych rock, Neigh!! is a lot stronger within the prog department, feeling almost like the secret fourth album from the band's 2000-2002 output. I can feel a strong energy from Phanerothyme and Let Them Eat Cake on here, and I really enjoy it a lot. It gives the record some charm for me, especially since I quite like more psychedelic prog stuff Motorpsycho can put out.

At the same time, though, it feels like a step back from Yay! in a lot of places. I really wanted to see if they'd continue on with that more overtly psychedelic pop sound off last year's record. In fact I thought it'd be neat if the band would make a non-prog record for the first time in a long while. You know, change up the pace, keep us Motorpsycho heads on our toes. However, even with the more psychedelic folk elements sprung throughout, the more progressive rock leaning focus this album has makes it feel less like continuing the exciting new twist that Yay! delivered, and more like business as usual for the band, which is really odd for me. It feels almost weirdly cut and dry. The prog hits good, but at the same time I really wanted to see that other side of Motorpsycho. Their prog is amazing, always has been, but their psychedelic pop scores are also amazing too!

Though, there are still some tracks that continue a bit from Yay!. Return To Sanity is a good example of this, being this nice, cool, and mellow psych folk track that reminds me quite a bit of Bob Dylan's music. As well as this, Revenants, and Condor do quite a good job at showcasing that very same type of sound, though in their own unique lights, like a bit more of a lo-fi sound on Revenants, and a nice little echo on the electric guitar of Condor. I like them quite a bit!

But the thing is they just feel weaker than what was delivered on Yay!. They don't feel half-assed, since I doubt Motorpsycho would just do that for their music, but at the same time I just don't quite like them as much as what was shown on Yay!. Yay! had this level of beauty and glamor to its presentation and sound that made its uniqueness quite stellar to go through. Neigh!!, however, doesn't seem to have that. It feels kind of sterilized in a weird way, and I really don't like that. It is probably the worst thing about this album honestly. There is no flavor of weirdness or uniqueness on here, and for that it makes it feel like a step back. For what it is worth, I still like the album, and I know Motorpsycho can bounce back from this. But at the same time, this record is definitely quite the let down, especially after a stream of banger after banger ever since 2017's The Tower.

I certainly wished I could've loved this album, but I simply felt quite lukewarm on it. Perhaps next year will lead to better results.

Best tracks: Psycholab, This Is Your Captain, Elysium Soon

Worst track: Edgar's Bathtub

This is unique in MOTORPSYCHO's catalogue and why they made sure to record and film this live event. Held in the Nidaros Cathedral in their home town of Trondheim, Norway this was actually part of a wider event, in fact a Folk Festival. This isn't Folk music but I understand that word has a broader meaning in Norway. Recorded on July 31, 2014 the same year "Behind The Sun" was released, we get our MOTORPSYCHO trio plus Stale Storlokken who is given equal billing on the church organ. There are a couple of musicians playing strings but then the ace in the hole is a 24 piece choir and that is the focus of this recording.

I am not a DVD person at all, so I'm reviewing the audio cd and I can appreciate that watching the video would help with this review but that would mean watching the DVD. This is a long one at 72 1/2 minutes. The opening track is not the best way to start this recording when you can't see what is going on as we get clapping to begin with then faint spoken words to the audience then church bells when he finishes. Same with the 3 minute closer as it's all applause. But in between! That is where we get an incredible performance.

MOTORPSYCHO just doesn't seem to be the focus here other than that 9 minute third track which is my favourite as we get a heavy rhythm section from them and those Blasquiz-like male vocals from the choir bringing Zeuhl to mind which was so surprising when I first heard it. Love this stuff. The female vocals soaring over top is so cool. The followup track is the monster 17 1/2 minute "Lykkepilegrim" where they really stretch things out. That second track which is really the first with music sounds like a train's horn along with church organ and a powerful atmosphere. The female choir arrives for the final 2 minutes.

A lot of noodling on here which is fine, it just seems like a natural part of the performance. Organ and vocals rule the day here and it's quite the live document of a special event. Writing music for a choir must have taken them out of their comfort zones no? Talented band. I'm sure this was the highlight of the festival. Highly recommended.

4.5 stars. This might be the last in that great run of albums that started with 2012's "The Death Defying Unicorn". A ten album run ending with "Ancient Astronauts" which also just makes it into my top five favourite studio albums for this band as well as taking that fifth spot for 2022. I really like how spacey this is and that's not surprising given the album's title but there's a fair amount of mellotron and lots of atmosphere on here. It does feel like an extension of the "N.O.X." suite from the previous album "The All Is The One" but not as interesting or intense when it comes to the repetitive sections on that long closer. Still, when they do get heavy it really stands out as a contrast.

Just four tracks and over 43 minutes, I like it already. The opener "The Ladder" is a great way to start this with those distant sounds including mellotron before it kicks in hard and turns uptempo. It settles with vocals and some cool guitar sounds. I really like the soundscape that is "The Flowers Of Awareness" at just over 2 minutes it's short but a trip and worth putting the headphones on for.

"Mona Lisa/ Azrael' is the third great track in a row and the longest of those at over 12 minutes. Violin, light beats create melancholy before fragile vocals without the violin takes over. Mellotron when the vocals step aside and the violin returns. More intense 4 minutes in with violin over top then heavy before 5 minutes. This is insane after 7 minutes, check out the drumming! Some relief after 9 minutes as it settles right down but then it explodes once again before a spacey calm. "Chariots Of The Sun" is the over 22 minute closer and the one that brings the "N.O.X." suite to mind the most. If this track was better I would be giving this record 5 stars but there are some extended passages here that could have been so much better.

Still, a very good album that hits the spot even more than "The All Is The One" did which I found a little inconsistent not surprisingly given it was a double album.