Integrating pop melodies with socially voyeuristic lyrics in Kurt Vonnegut style prose, The Motion Sick leaves you thinking beyond usual romance parameters with their second CD release, The truth will catch you, just wait…, due out January 1, 2008. Lead singer, Mike Epstein observes, “Vonnegut approaches almost all of his stories with a sort of self-deprecating confession of the whole plot right away and then weaves together the revealed pieces. You're never really reading the book waiting to see what happens, but rather waiting to see how it happens. The tone of his wit is something I admire and strive for and his narrative writing fits with the fatalist concepts woven throughout this record.”

Named SPIN Magazine’s “Band of the Month” for their first release, Her Brilliant Fifteen, Epstein (Guitar, Vocals), Matthew Girard (Bass), Patrick Mussari (Guitar) and Travis Richter (Drums) draw parallels to Vonnegut with lyrics ringing of social commentary. Never too serious while slinging weighty subject matters and unconventional musical themes, the band remains profoundly simple in the melodic nods to their literary muses and societal inspirations. Songs like "Jean-Paul," a schizophrenic, splintered conversation on the murder of French revolutionary Jean-Paul Marat, reside comfortably next to “30 Lives,” a baba-ba filled ditty in which the protagonist utilizes a video game code to spend 30 lives with his partner. Literary or technological, modest or fantastical, inspirations for the band lay in those with the ability to speak to listeners.

Drawn to musicians who tell a compelling story while carrying a bit of venom cause artists like Nick Cave, Bright Eyes and Modest Mouse to resonate with the band. “I really like musicians who are tough, but vulnerable,” Epstein reflects. Emitting inspiration from the television show “Twin Peaks,” the band referenced the lyric in their song "The Owls Are Not What They Seem" for the title of their CD, The truth will catch you, just wait… Revolving around the show’s premise of the futility of resisting fate, the song and the album as a whole perpetuate the theme of uncontrollable universal clockwork (death and rebirth, gravitational forces, heavenly bodies, unstoppable violent revolution). Some of the songs approach this as gravely serious, some as satire.

The album’s title speaks of some ominous, impending event, which led to the release date of January 1st. Epstein says, “I think we all have a fear that at midnight of the new year, there's always a chance the world might end.” So it goes.