MOTORPSYCHO — The Crucible (review)

Album · 2019 · Non-Metal

3/5 · 2021-01-10
lukretion

Released in 2019, The Crucible is the second instalment in Motorpsycho’s “Gullvåg trilogy” of albums inspired by the art of painter Håkon Gullvåg, which the band started in 2017 with The Tower and will conclude in 2020 with The All Is One. While exploring similar lyrical themes (living in a polarized society) and moving in similar musical spaces (psychedelic-infused heavy prog), The Crucible stands out relative to the other two parts of the trilogy, in a number of ways.

First, clocking at about 40 minutes, it is by far the shortest album in the trilogy (both The Tower and The All Is One are double-albums that surpass the 80-minute mark). It contains only three tracks, albeit two of them (Lux Aeterna and the title-track) are nearly 11 and 21 minute long, respectively.

Second, it is certainly the heaviest record in the trio of albums. The stoner/doom/heavy prog influences (Black Sabbath above all) that characterized Motorpsycho’s earlier records come back in a very prominent way on this album. This is different from The Tower and, especially The All Is One, which are instead proggier and more rock-oriented. This is not to say that The Crucible is lacking in prog credentials. On the contrary, the angular, fuzz-drenched instrumental acrobatics one can find on “Lux Aeterna” and “The Crucible” (the track) are reminiscent of the furious and fearless experimentation of early King Crimson. The interplay between reeds and guitars on “Lux Aeterna”, for instance, is a particularly striking Crimsonian moment. The pervasive use of the mellotron is another element that brings to mind Robert Fripp’s band. Elsewhere, the vocal harmonies conjured up by Bent Sæther and Hans Magnus Ryan remind us of Jon Anderson (listen for example to when the vocals kick in on the title-track). More generally, Yes’s musical exuberance is another reference point for Motorpsycho’s music. Yet, all these classic prog references are reinterpreted through a heavily metallic lens as well as with a distinct modern approach (Stian Westerhus comes to mind when one listens to the guitar-noise experiments on the title-track), which helps keep things fresh, contemporaneous and non-derivative.

The three tracks are well-balanced between vocal-driven parts and instrumental sections where the band loosens up and engages in long detours that have an improv flavor. There is nevertheless a sense of structure and discipline in the way these tracks are constructed, which makes them easy to assimilate and help the listener to remain focused throughout a song. This is particularly true on the two shorter pieces, “Psychotzar” and “Lux Aeterna”, while the title-track is slightly more meandering and I think it may have benefitted from some fat trimming. Regardless of your level of endurance with lengthy instrumental acrobatics, the level of playing is dazzlingly good throughout the album.

Overall, The Crucible offers an enjoyable musical ride, especially if one is a fan of extended heavy psychedelic jams, which the album offers aplenty. Often this type of composition approach relies on that special spark to light up and infuse the music with magic. And while there are moments on the album where this is certainly the case, and the listener is left engrossed by the experience, elsewhere the approach feels a bit more earthbound and tiresome, which is why I cannot give this album more than three stars.

[Originally posted on http://www.progarchives.com]