THE TOWER

When drummer Kenneth Kapstad jumped ship in May 2016, after a brilliant nine year tenure, which revitalized the duo of Bent Sæther and Hans Magnus 'Snah' Ryan, there were doubts as to whom would be able to replace him in the drumstool. After spending the remains of '16 writing and performing music for the play «Begynnelser» («Beginnings»), the band announced in January '17 that they had found the replacement; swedish drummer Tomas Järmyr, student at the conservatory in Trondheim, and a member of such bands as YODOK and ZU. After just a few months together they travelled to California in March and recorded the material which would end up on «The Tower». The more hard-hitting material was recorded at White Buffalo in L.A., while the more pastoral was recorded at Rancho de la Luna in Joshua Tree. Well, enough background. What about the music?

The first thing long time fans would notice is that the songs are more heavy than they have been for quite some time. It seems that the introduction of a new drummer has given the two old-timers an injection of energy, at least if one is to compare this album with Kapstad's last album with the group; «Here be Monsters». In a way, it is comparable to the revitalization Kapstad gave the group, which was shown on «Little Lucid Moments». The first three songs all share this heaviness, although they are quite different. The opening title track is the most proggy of the three, with a healthy dose of mellotron, a great "symphonic" main riff, and a long, multi-part instrumental section in the middle. Great opening. The symphonic tendensies continue on the next track, "Bartok of the Universe", although this a bit more heavier, and conventional in structure. The verses are a great example of the band's ability to create lovely, melodic vocal parts against an aggressive backdrop. A top three track for me. The third track, "A.S.F.E.", meaning 'A Song for Everyone' harkens back to their 90's period, with just a droning riff repeating for seven minutes, with a few variations thrown in. Think Sabbath-meets-krautrock. An okay- ish song, although it does not live up to the standard of the first two tracks.

After the explosiveness of these opening three tracks, there is time for a little psychedelic excursion, which comes in the form of "Intrepid Explorer". The first few minutes are devoted to a mellow and charming vocal part, before we head into space with a seemingly endless buildup, which in my opinion no band does better. Certainly an acquired taste, but for me this js a certain winner. In order to catch one's breath, we are then given the acoustic track "Stardust", laden with CSNY-style vocal harmonies and a touch of mellotron. A pleasant and necessary change of dynamics. It's back to the heavy style with the sixth track, "In Every Dream Home". A great classic rock-vibe sets the tone, including an absolutely facemelting guitar solo from Snah. In the middle there is a change of pace, when Alain Johannes comes in with a flute-part akin back to 70's style prog. A great, and varied track. The vibe from "Stardust" is reintroduced in the next track; "The Maypole", although with a bit more energy here. A very uplifting and pleasant track.

The third to last track, "A Pacific Sonata", is the longest on the album, clocking in at almost 16 minutes. The first eight minutes are devoted to a beatiful CSNY-style ballad, including a heavenly guitar solo from Snah, when this part is done and dusted, Sæther starts to play a quite hasty bass riff, which leads the way for further psychedelic exploration for the remaining minutes, before the opening vocal part is repeated at the end. Probably my favorite track on the album. The penultimate track is the heaviest on the album. "The Cuckoo" starts with an atmospheric mellotron intro, which soon erupts into a doom metal-ish riff. Again, the influence of Sabbath is quite evident. Apart from a short and mellow bridge, this is pretty hardhitting for all of its seven minutes. A good track, but not enough to reach the pantheon. The last track, though, is worthy of consideration. "Ship of Fools" clocks in at around 15 minutes and start of with a repeating piano motif, which goes on for quite a bit, until it enfolds into a proper prog epic. The first five minutes are majestic and uplifting, with great vocal parts, before turning to introspection and a more darker vibe for the remaining minutes. Great, great track.

I will never fathom how these guys are able to churn out quality music at the rate which they are doing. After just three months with a new drummer, they are able to produce a double album with 80 minutes of music, and 95 % of it works perfectly. A real tour-de-force album. I have not mentioned the playing of Järmyr yet, but as you surely would have understood, he fits into the mold perfectly. He is not as 'wild' as Kapstad, but they both have the jazzy touch and knack for improvisation, which is so important for thia band. So to sum up: check out this album. A package full of diversity and fun.

In 2017 Motorpsycho released The Tower, a double-album that was to become the first instalment in their so called "Gullvåg Trilogy" of albums inspired by the art of painter Hakon Gullvåg, whose work graces the cover of The Tower as well as the subsequent two albums (2019's The Crucible and 2020's The All Is One). On this album bass player / vocalist Bent Sæther and guitarist Hans Magnus "Snah" Ryan pair with a new drummer, Tomas Järmyr, who replaces Kenneth Kapstad after a 9-year stint with the band. The album also marks an evolution in the sound of the Norwegian veterans, which veers more decidedly towards heavy rock territories, bringing back some of the influences that had coloured Motorpsycho's early albums (Hawkwind, Black Sabbath, a touch of King Crimson).

It's a fun album, filled with groovy bass or guitar patterns that interlock to provide a solid basis for extended instrumental buildups and spontaneous jams. It's what Motorpsycho are renowned for and indeed it is music that at its best can be transcendental, as the listener is entranced and engrossed by the dazzling playing of the three musicians. There are plenty of moments when this happens on the album, as for instance on the beautiful guitar solo that kicks in five minutes in "A Pacific Sonata", or in the lengthy trippy affair that goes under the name of "Intrepid Explorer". Elsewhere, more pastoral and whimsical 70s rock influences emerge from the musical cauldron of The Tower, as in the very CSYN-esque "Stardust" or on "The Maypole". Meanwhile, the infectious combination of guitar riffs and flute melodies on "In Every Dream Home" is the most exquisitely prog moment of the album, bringing to mind the work of early Canterbury bands like Caravan.

For as much as I enjoy a free-spirited, psychedelic jam-fest, it is actually the more restrained songs like "In Every Dream Home" that Motorpsycho truly captivate me. I love the way this track strikes a perfect balance between instrumental virtuosity and structure. It gives the song a more definite identity which helps me keep my attention focused much better than on other, more free-form tracks on this album. Alas, there are not many moments on the album when this happens, which is why this record remains a bit of an acquired taste for me, and to it I prefer the other two instalments of the trilogy, The Crucible and especially The All Is One, which are less jam-oriented and more structured.

Nevertheless. The Tower remains an impressive album by the Norwegian trio that marks in great style the beginning of a new era for the band, with a new drummer and a renewed love for their heavy psychedelic rock origins. Although this may not be the most revolutionary or path breaking music to play in 2017, the songs still feel fresh and non-derivative. Most importantly, it is clear from listening to the album that the band had a lot of fun writing and playing the music, and the feeling is simply infectious.

[Review also posted on www.metalmusicarchives.com]

I think this is MOTORPSYCHO's first concept record since "The Death Defying Unicorn", but I could be wrong. A double cd but thankfully they are old school at 42 and 43 minutes in length respectively. I gotta say I gave up on this band at one point, they just weren't my thing and then all these glowing reviews for "The Death Defying Unicorn" and I bit and I'm so glad I did. They changed again after that one to what I call psychedelic sunshine styled music with those high pitched vocals and uplifting sound. Thankfully they haven't given up on adding some heaviness at times. So from 2012 to 2017 this band has hit my sweet spot. Albums like "Still Life With Eggplant", "Behind The Sun", "Here Be Monsters" and this one "The Tower" are all top notch in my books. I was surprised to hear the drummer Kenneth Kapstad left after "Here Be Monsters". He has his side projects for sure like MOSTER! and SPIDERGAWD" and other stuff keeps this talented drummer busy. A trio here with a guest who adds vocals to one track, guitar to two tracks and flute to another. Some very cool pictures in the liner notes. They divide the story into four sections with tracks 1-3 being the opening section followed by tracks 4-6 then 7, 8 before the closing section of songs 9 and 10.

So much good music on here and the opener is one of my favourite tunes on here called "The Tower". A quiet start but it does turn heavy before a minute. So good! Vocals follow. An interesting change at 3 1/2 minutes as we get this urgent rhythm section with guitar over top and no vocals. Check out those keyboards too. Just ripping it up until around 6 1/2 minutes when a calm arrives. "Intrepid Explorer" is another highlight. This one is different as it opens dark yet mellow. Reserved vocals just before a minute. It's getting fuller at 2 1/2 minutes then it settles back with bass only as guitar and drums join in. So good as it builds. This is intense like ELEPHANT9. Big fan of "In Every Dream Home(There's A Dream Of something Else)" especially the lyrics but this one has some heaviness that I like as well. Disc two isn't as strong in my opinion. I like the mellotron-like sounds early on "The Cuckoo" then the heaviness arrives. Vocals just before a minute. Nice guitar solo follows as vocals step aside. Killer section from after 5 minutes to after 11 minutes on the closer "Ship Of Fools".

4 stars seems perfect for me. This is a keeper along with the others by them that I have mentioned.

While it is not all that uncommon to see a trilogy of conceptual albums to be made in prog rock, it is quite uncommon for all three of those albums to be downright masterpieces in my eyes. However, it is not the first time Motorpsycho has crafted a bunch of amazing albums in a row before.

The Tower is the start of the band's Gullvåg trilogy, which is aptly named after Norwegian artist Håkon Gullvåg, who created the album covers for this trilogy. Right off the bat, the first praise I'll give to this album is the album cover and how it sets the mood for the entire thing. It is very weird with a lot of disorienting perspectives and odd figures that give the album as a whole a very creepy vibe, and I honestly am all for it. It works very well for the music of Motorpsycho.

On the musical side, Motorpsycho has gone to a similar route they've found themselves on with Heavy Metal Fruit, going for a more harder stoner rock sound combined with their psych and prog compositions. Though, for The Tower I can also taste little hints of the more avant garde sounds of The Death Defying Unicorn, especially on tracks like Intrepid Explorer and Ship of Fools. I feel like this is the band combining a ton of different sounds from their past and most notable works, and combining them to create The Tower, and what it delivers really works for me. The interesting jams the band creates mixed with the very proggy side of this album and a heavier sound just really adds to this album's already amazing songs, and I think only solidifies how truly immaculate this band's brand of prog really is.

For the concept of this record, I believe the band did not want to go for a full on story like Death Defying Unicorn, but instead similar to something like The Raven That Refused to Sing by Steven Wilson, where it is a bunch of different mini stories that all revolve around a shared theme, as this theme being the tower. I have a theory that this concept was sprouted through the Bible myth of the Tower of Babel, where a group of people who speak on a shared language decides to build a tower to the heavens, however the deity of Yahweh confounded their language and scattered its elements across different lands, causing the birth of many different languages in human history. It could also be represented by The Tower Tarot card, which its upright meaning details sudden change, chaos, and some form of awakening, while its reversed meaning details personal growth, or a more conservative mindset, which could line-up with the band's sudden changes with their drummer leaving the band, but also the use of more older sounds to create something new. I think, perhaps, The Tower and its stories are not meant to be fictitious tales, but rather tales surrounding the band, their legacy, their image, and who truly are. It is quite interesting to think about and just makes The Tower an even more awesome album.

The Tower showcases not only a conceptual piece of music that desires questions and thoughts, but also showcases a band that is still golden in their long 20+ years. Truly another album for the ages.