Album Review: Motihari Brigade “Problematic”

Album Review: Motihari Brigade “Problematic”

I took a little longer than usual to review Problematic. Not because I lacked time, but because there is simply a lot to say about this album, and a surprising number of positive points to unpack. From its creativity and old-school spirit to the richness of its songwriting and thematic ambition, Motihari Brigade have delivered a record that deserves more than a quick, surface-level listen.

Released on George Orwell’s birthday, Problematic is the third album from Eric Winston’s Indianapolis-based project, and it fully embraces what the band calls “Rock-n-Roll Thoughtcrime.” The title alone is a statement, but what makes the album compelling is that it does not rely on slogans or outrage. Instead, it asks questions. It challenges propaganda, censorship, artificial intelligence, digital dependency, and militarism through the lens of classic rock songwriting, and it does so with genuine musical substance.

The opening instrumental, “Cowboy Armageddon,” sets a cinematic, slightly dystopian atmosphere before flowing into the title track. “Problematic” immediately establishes the album’s central groove: bluesy, psychedelic, and unmistakably rooted in the golden age of late-60s and 70s rock. The guitars breathe, the rhythm section swings naturally, and Winston’s vocals carry conviction without becoming preachy. It feels less like a nostalgic recreation and more like a band that genuinely belongs to that tradition.

One of the album’s greatest strengths is its ability to balance serious ideas with playful creativity. “Chatbot Don’t Like It” is a perfect example. Funky, humorous, and slightly absurd, it blends human and machine-like sounds to poke fun at our increasingly algorithm-driven world. The text-to-speech elements and quirky production choices never feel gimmicky; they reinforce the song’s satirical edge while remaining incredibly catchy.

“Save Ourselves” and “Not What They Seem” deepen the philosophical side of the record, exploring conformity, identity, and the danger of accepting appearances at face value. What impressed me most is that the lyrics are thoughtful without becoming academic. The songs remain songs first—full of memorable hooks, strong riffs, and dynamic arrangements.

The album reaches its most ambitious moment with “The Hubris March,” which connects “Heedless Of The Storm” and “Ten Years Time” into a mini rock opera about the cycle of war and its aftermath. The detuned Stratocaster feedback section that simulates battlefield chaos is genuinely inventive and gives the suite a dramatic weight rarely attempted in contemporary rock. Following it with a blistering cover of Fortunate Son is a brilliant sequencing decision that reinforces the anti-militarist message without feeling redundant.

Musically, Problematic is remarkably full and organic. The production avoids the sterile perfection that often plagues modern rock records. The guitars have warmth and bite, the bass is active and melodic, the drums feel human and alive, and occasional keyboard textures add color without overcrowding the mix. This old-school richness is one of the reasons I kept returning to the album; every listen reveals another guitar flourish, vocal harmony, or rhythmic detail.

“Pleasure Craft” cleverly shifts the focus from fear-based control to the seduction of comfort and entertainment, while “Problematic (Reprise)” ties the thematic threads together before the haunting closer “Someone’s Dream” ends the journey with spacey, reflective elegance.

In an era when many rock albums are content to imitate the past, Problematic uses classic rock language to speak directly to the present. It entertains, provokes, and rewards careful listening. Motihari Brigade have created a record that is creative, courageous, and impressively well-crafted—an album that proves rock music can still ask difficult questions while delivering great riffs and unforgettable songs.

Motihari Brigade - Rock-N-Roll Thoughtcrime - Power from Below