We have been intently following the lead up to Motihari Brigade‘s album, Problematic, and previously featured their cover of Fortunate Son, the stadium-ready single, The Great Refusal, and the thought-provoking, Save Ourselves, so when we heard that Problematic was finally here, poignantly on George Orwell‘s birthday, we couldn’t wait to share our track-by-track review!

The album opens with Cowboy Armageddon, which serves as a psychedelic rock intro to the album, this leads us to the title track of the record, which opens with the lyrics, “I’m problematic baby, don’t fit inside the box, I’m problematic baby, an enigmatic paradox…”. The trippy rock energy that transmutes, aligned with the concept of the song, sums up the manifesto of the whole record. It perfectly sets the tone for an album that questions the direction of modern society. On a philosophical level, it celebrates those of us who refuse to blindly conform to popular opinion or social pressure. Its message is that independent thinking might attract some criticism, but the authenticity and being true to oneself is ultimately worthwhile.

Next up is Chatbot Don’t Like It. Immediately we are drawn in by the title and the concept. The song uses comedy and satire to criticize automated systems, censorship and the frustration of dealing with modern technology (AI) that might lack human understanding. The playful and cerebral song suggests that genuine individuality cannot always fit inside predefined rules and algorithms. We love the power-pop harmonies and the sci-fi vibes that manifest with the spoken word virtual assistant – it’s genius really. The clean version at the end of the album preserves the song’s satire while making it suitable for wider audiences.

This brings us to Save Ourselves which opens like a Queen song, evolving into a song that you might experience in the Rocky Horror Picture Show. It’s camp but also cements the project’s stadium-ready energy. As for the message, the song argues that waiting for heroes and leaders to solve society’s problems is unrealistic. Instead, it encourages us to take responsibility for our own future and think independently.

Not What They Seem explores how appearances and mainstream accepted ideals are misleading. It’s a call for us to question assumptions and look beyond the surface before accepting something as “truth” per se. The sound is cohesive with the rest of the record, and again, the astral vocal harmonies are sublime.

We previously featured The Great Refusal which evocatively challenges institutional authority and the influence of powerful voices over public opinion. The song suggests that ordinary people may eventually reject manipulation and reclaim independent judgment. It feels like a cathartic shift in the album, which leads us through to a more optimistic direction.

Heedless Of The Storm is built around a series of questions. The prose examines conflict, propaganda, and the consequences of political decisions. It feels like a self-realization anthem for society, again, fitting into the overarching narrative of the record with a message that societies should think carefully before accepting official narratives or rushing into action. This is the longest track on the album with epic instrumentation lasting almost two minutes! To experience this live would be out of this world.

Now we trip into the future with Ten Years Time, which opens with an intricate Americana guitar soundscape with percussion like a rattle snake. The song, again laced with questions, reflects on how history often changes the way wars and major events are remembered. It’s the Mandela effect of songs, and reminds us that today’s certainty might become tomorrow’s regret once the full truth emerges. The instrumental segues invite introspection and the saxophone is transcendental. Again, this is a lengthy opus coming in at over eight minutes.

This leads us to Fortunate Son, which we featured upon its release. It remains a timeless criticism of privilege and the unequal burden of war. Its message continues to highlight the divide between those who make decisions and those who suffer the consequences.

Pleasure Craft explores humanity’s increasingly dependent relationship with technology, consumerism and digital life. It warns that convenience and endless entertainment can slowly become forms of control which feels super zeitgeist, as it’s what a lot of us are experiencing right now.

The reprise for Problematic revisits the album’s central theme with an even sharper focus on social judgment and labelling. It reinforces the idea that refusing to conform should not be mistaken for being dangerous.

This leads us to Someone’s Dream which opens with cerebral dreamlike notions and a more zen energy, designed to close the album on a reflective note. The cinematic song looks back on relationships, memories, and the lasting impact people leave in each other’s lives. It shows us that even when moments pass, our emotional connections continue to matter. The hook also resonates like a mantra of hope.

Overall, Problematic is a call to human intelligence in an increasingly automatic and authoritarian world. Motihari Brigade have succeeded in creating an album that sparks conversation and reminds us that asking difficult questions is where meaningful thought begins. For that level of consciousness, we are grateful.

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Our obsession with Motihari Brigade seems to grow with every listen. We previously featured the band for sharing an intellectually fierce commentary and challenging institutional power on stadium-ready single, The Great Refusal, and before that for reigniting protest energy with a powerful cover of Fortunate Son. Naturally, when we heard they were back today with Save Ourselves, we couldn’t wait to listen and share our thoughts.

Save Ourselves opens with a choral vocal performance of the lyrics, “No one’s gonna save us now, we’re gonna have to save ourselves…”, before expanding into a timeless, classic rock soundscape. The dimensionality of the performances is sublime and the conceptual prose that follows is quintessential Motihari Brigade – laced with poetic prowess, cultural metaphors and intentional depth.

Naturally, the song is a zeitgeist commentary on what we are all experiencing right now. It’s not about looking outwards for solutions, but the spiritual message of going within. The band argues that many people who followed the “New Atheists” (Dawkins, Hitchens, Harris) believed that moving away from religion would naturally lead to a more rational and better society. Save Ourselves is designed to question that idea.

The song suggests that people still have a tendency toward tribalism, dogma, and moral certainty, even in these secular movements. In a world shaped by media, algorithms, and political power, new belief systems can end up looking a lot like the old ones they replaced.

Save Ourselves is about the search for meaning, authority, and truth in a confusing age. The lyrics warn against putting faith in new messiahs, ideologies, or political movements that promise easy answers. Instead, the song argues for independent thinking and personal responsibility.

Motihari Brigade poignantly ask, “Is there still room for humans to think for ourselves — to keep asking questions? To be problematic? Where do independent critical thinkers go when society becomes the cult?”

To promote their art, the band has generated a conversation between Orwell, Socrates, and Jesus Christ, as they discuss Motihari Brigade‘s new album, Problematic. We continue to be in awe of the thought-provoking art that Motihari Brigade deliver, and have added Save Ourselves to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we anticipate the release of their album, Problematic on June 25 – George Orwell‘s birthday!

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We previously featured Motihari Brigade when they reignited protest energy with a powerful cover of Fortunate Son, so when we heard that the philosophical band was back with The Great Refusal, ahead of the release of their album, Problematic coming out on June 25 – George Orwell’s birthday – we couldn’t wait to listen and share our experience.

The Great Refusal opens with textured drums and a dimensional guitar soundscape with a playful bass and electric riffs. Once again, the lyrics are a brilliant commentary and serve as a critique of elite consensus culture and institutional authority.

The song intelligently shows us that governments, media, tech platforms, celebrities, influencers and the wealthy present their narratives as unquestionable truth. The lyrics depict that these groups create this illusion.

The opening verses attack technocracy and cultural gatekeepers who suppress dissent. The concept of “reality interferes…” suggests that real-world outcomes eventually expose this propaganda.

One of the most poignant lyrics is the reference to Epstein’s island, highlighting corruption, surveillance, censorship, and Orwellian control. “Elon Oppenheimer” is another genius concept fusion that blends tech-billionaire futurism with destructive power, mocking saviour-like figures who promise utopia.

The repeated hook “The great refusal is upon us…” points to growing public rejection of elite narratives. The band shares, “karma’s gonna be a bitch…” which uplifts ancient Vedic philosophies which are more aligned with oneness and authenticity in the truest sense.

Overall, we are reminded that we are being intentionally distracted into fighting with each other through outrage and grievance politics. The message is clear – we all need to wake up and come together, keep asking questions, and choose love and wisdom.

Needless to say, we absolutely agree with the message and the stadium-ready, psychedelic-adjacent accompanying sound that is fully human-created. As we await the release of Problematic on June 25! The Great Refusal has been added to our New Music Spotlight playlist, and our TIMELESS and TRIPPY playlists!

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Drawing us in with a countdown of T minus 10 seconds to ignition, Motihari Brigade open their cover of Fortunate Son (originally by Creedence Clearwater Revival in 1969) with a dimensional rock soundscape featuring astral guitars, textured drums and a psychedelic adjacency.

The cover stays true to the original lyrics, and opens with the poignant prose, “Some folks are born made to wave the flag, the red, white and blue, and when the band plays “Hail to the chief”, they point the cannon at you…”

In essence, Fortunate Son is a protest song about class inequality, privilege and the unfair burden of war. The lyrics criticize wealthy and politically connected families, like “senator’s sons” and “millionaire’s sons”, who benefit from nepotism, patriotism and power whilst avoiding the real sacrifices, such as fighting in wars or facing hardship.

This feels zeitgeist today, more than ever. It’s almost as if society has gone full circle, as it does, and we are right back in a loop where this message rings true with reference the state of reality as we know it.

Motihari Brigade reiterate, almost sixty years later, the idea of not being part of a privileged group, singing the hook “it ain’t me”. They are speaking out for ordinary working-class folk who are expected to suffer and serve whilst the rich stay protected. The original version of the song became especially associated with criticism of the Vietnam War, but this time, we have a plethora of wars and genocides to choose from with regards to the message.

The guitar solo is transcendental, inviting introspection, whilst the trippy, garage rock vibes with a passionate delivery feels important and timeless. The explosive finale is haunting and legitimately rather harrowing – a beautiful execution of art as activism.

We learn that Motihari Brigade are set to release their new album Problematic on June 25, 2026, George Orwell’s birthday, with the band humorously suggesting it may further destabilize an already chaotic world.

The album is set to tackle themes such as mass propaganda, censorship, artificial intelligence, militarism, technology addiction and modern cultural distractions, blending sharp social commentary with dark satire. Reviving their “Mini-Rock Opera” concept, the record presents a connected suite of songs exploring the relentless drive toward war and its damaging consequences. 

Needless to say, we are in awe, and have added Fortunate Son to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream Motihari Brigade‘s wider discography, including the entirety of their 2022 album, Algorithm & Blues, and anticipate the release of Problematic this Summer!

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