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Reckon the OpenAI Jukebox must have needed a lie down in a darkened virtual room after this:
Quote:There are a couple more though. Thinking of 'The Daily Doug', 'Key of Geebz' and 'Lost in Vegas'.Haha yes, Lost In Vegas is the only reaction channel I can really stand. Might also just be only channel where they actually don't like every song they hear =p
This appears to be a new review, from Amarok Magazine.
Quote:Tower / The Crucible / The All Is One, which the trio from Trondheim puts back the cover in a beautiful way with (if I count correctly) their 24th original album in … 30 years of existence. One could fear a shortness of breath, a drop in quality or inspiration with such a rhythm … well no. The band maintains its high level of quality while staying true to its recognizable style. Motorpsycho's music is still just as powerful, somewhere between progressive-psychedelic rock and proto-doom à la Black Sabbath or Big Elf (“Kingdom Of Oblivion“). Moreover, a surprise is lodged in the first half of the album with a cover of “The Watcher†by Hawkwind, one of the titles of the group signed by Lemmy Kilminster. The version signed here is magnificent, darker, more hypnotic, lit and haunting than the original, which almost sounds like a bluette when listened to in succession. To support the trio Bent Sæther (vocals, bass, guitar, keyboards, percussion), Hans Magnus Ryan (guitar, backing vocals, keyboards, mandolin, violin, bass) and Tomas Järmyr (drums, backing vocals), it is the Swedish cousin and extraordinary guitarist Reine Fiske (Landberk, The Amazing) who comes to lay down her characteristic guitar, her keyboards and co-sign the arrangements for most of the titles. Among these, “The United Debased“, is forged on lead: a riff that we could hear coming out of Iommi's guitar, teases a very melodic vocal, soaring keyboards and above all contains some of the most beautiful solos from the album. “DreamKiller†on his side with the same Fiske is much more barred. Always as heavy when the power is unleashed, it also knows how to be minimalist at times. Psychedelia, combined with the power of a Black Sabbath, is what this album evokes the most. Whether it's the title track, “Kingdom Of Oblivion“, or the long “The Transmutation Of Cosmoctopus Lurker“, or even the very first “The Waning Pt 1 & 2“, we constantly take the power of music and compositions in the face, with powerful riffs, a thunderous bass, but at the same time a real progressive construction with musical phrases that clash, change direction and rhythm, frenetic solos that one would think had been given birth on acid, in short if we enter the world of the Norwegians, we are not bored for a quarter of a second. The group also knows how to let its audience breathe and offers between these pieces of bravery some acoustic interludes (“Atet“, “Lady May“, “Cormorant“), or more classic (“At Empire’s End“).Motorpsycho is making yet another great record. There are still reminiscences of the GullvÃ¥g trilogy, in the heaviness of several titles, but we also find a strong contrast, with acoustic titles, almost light and folkloric which bring back to Phanerothyme, one of their great successes. That said, the strength of Kingdom Of Oblivion…it's precisely its strength: imagine the ride of the Valkyrie soundtracked by Black Sabbath having taken LSD and you'll have an idea of ​​what you'll take in the figure by listening to most of the 'album. The Motorpsycho universe is earned, but once you have found the key.
[Translated from French by Google Translate]
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