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MOTORPSYCHO

Eclectic Prog • Norway


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Motorpsycho biography
Founded in Trondheim, Norway, in 1989 - Still active as of 2019

MOTORPSYCHO was formed initially of Bent SÆTHER (bass), Hans Magnus "Snah" RYAN (guitars) and Kjell Runar "Killer" JENSSEN (drums). The demo EP "Maiden Voyage" from 1990 was their first release, followed by the full length production "Lobotomizer" in 1991. On these first two ventures their stylistic expression were heavily influenced by punk and grunge, the latter a style of music highly popular at the time.

Shortly after the release of their first album drummer JENSSEN left the band, and was replaced by Håkon GEBHARDT (drums, vocals, banjo). This second edition of the band would prove to be pretty stable, as this threesome would make up the core unit of the band for the next 14 years.

The first efforts of the new line-up were the single "3 Songs for Rut", followed by the EP "Soothe". Both of these productions were issued in limited editions in 1992, and was assembled and released as the compilation album "8 Soothings Songs for Rut" later the same year. While still pursuing a tyle of music most closely related to alternative metal on these efforts, influences from progressive rock started manifesting themselves at this point, first and foremost in the close to 10 minutes long effort "Lighthouse Girl".

And influences from progressive rock, psychedelic music and indie rock would all become steadily more prevalent in the musical exploits of MOTORPSYCHO in the coming years, a steadily evolving process that can be traced in a flurry of releases throughout the 90's. Many feel they emerged as a purebred progressive outfit already in 1993, when they released the double album "Demon Box". A single CD version of this effort was released as well, and the tracks omitted from this version due due time constraints was soon after made available on "Mountain EP".

One reason for the evolvement in stylistic expressions on this particular album was the addition of Helge STEN (keyboards, theremin) to their ranks. He would remain a permanent member of MOTORPSYCHO until 1995, and something of a cross between an associated member and frquently used guest musician and contributor for the following years. STEN might be more well know to music fans by his creative moniker DEATHPROD, and he has a score of releases to his own name exploring dark ambient, droning sonic landscapes.

In 1994 MOTORPSYCHO was signed by major label EMI Records for their Norwegian releases, while the ba...
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MOTORPSYCHO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

MOTORPSYCHO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 52 ratings
Lobotomizer
1991
3.85 | 90 ratings
Demon Box
1993
3.97 | 114 ratings
Timothy's Monster
1994
3.07 | 39 ratings
The Tussler
1994
3.40 | 65 ratings
Blissard
1996
3.61 | 73 ratings
Angels And Daemons At Play
1997
4.09 | 114 ratings
Trust Us
1998
3.95 | 92 ratings
Let Them Eat Cake
2000
4.16 | 144 ratings
Phanerothyme
2001
3.67 | 70 ratings
It's A Love Cult
2002
3.81 | 37 ratings
Motorpsycho Presents The International Tussler Society
2004
3.68 | 85 ratings
Black Hole / Blank Canvas
2006
4.00 | 131 ratings
Little Lucid Moments
2008
3.61 | 66 ratings
Child Of The Future
2009
3.83 | 247 ratings
Heavy Metal Fruit
2010
4.21 | 529 ratings
Motorpsycho & Ståle Storløkken: The Death Defying Unicorn
2012
4.01 | 208 ratings
Still Life With Eggplant
2013
4.04 | 359 ratings
Behind The Sun
2014
3.97 | 165 ratings
Here Be Monsters
2016
3.09 | 28 ratings
Begynnelser
2017
4.03 | 267 ratings
The Tower
2017
4.02 | 140 ratings
The Crucible
2019
4.14 | 188 ratings
The All Is One
2020
3.86 | 138 ratings
Kingdom of Oblivion
2021
4.02 | 124 ratings
Ancient Astronauts
2022
4.14 | 48 ratings
Yay!
2023

MOTORPSYCHO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.09 | 13 ratings
Roadwork Vol. 1 - Heavy Metall Iz A Poze, Hardt Rock Iz A Laifschteil - Live In Europe 1998
1999
1.68 | 9 ratings
Roadwork Vol. 2 - The MotorSourceMassacre - Motorpsycho, The Source & Deathprod Live At Kongsberg Jazzfestival 1995
2000
3.56 | 17 ratings
Roadwork Vol. 4 - Intrepid Skronk
2011
3.17 | 6 ratings
Strings Of Stroop - Live At Effenaar
2011
4.06 | 16 ratings
Motorpsycho and Ståle Storløkken: En Konsert For Folk Flest
2015
3.67 | 3 ratings
A Boxful Of Demons
2018
3.96 | 5 ratings
Roadwork Vol. 3 - The Four Norsemen Of The Apocalypse - Live At The Paradiso, Amsterdam, November 23, 2002
2018
4.33 | 3 ratings
Roadwork Vol. 5 - Field Notes - The Fantastic Expedition Of Järmyr, Ryan, Sæther & Lo - Live In Europe 2017
2018

MOTORPSYCHO Videos (DVD, Blu-ray, VHS etc)

4.00 | 3 ratings
This Is Motorpsycho
1995
4.00 | 3 ratings
Hair Cuts - Motorpsycho On Film
2008

MOTORPSYCHO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.31 | 16 ratings
8 Soothing Songs For Rut
1992
4.00 | 3 ratings
Angels And Daemons At Play
1997
4.43 | 7 ratings
Timothy's Monster - Deluxe Edition
2010
4.17 | 6 ratings
Blissard - Deluxe Edition
2012
4.75 | 12 ratings
Demon Box - Deluxe Edition
2014
4.46 | 13 ratings
Supersonic Scientists - A Young Person's Guide To Motorpsycho
2015
4.14 | 7 ratings
Angels And Daemons At Play - Deluxe Edition
2016
4.00 | 6 ratings
The Light Fantastic
2019

MOTORPSYCHO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.20 | 6 ratings
Maiden Voyage
1990
3.12 | 6 ratings
Soothe
1992
3.12 | 6 ratings
3 Songs For Rut
1992
4.50 | 2 ratings
Motorpsycho
1992
3.33 | 3 ratings
Motorpsycho / Hedge Hog: Into The Sun / Surprise
1993
3.77 | 13 ratings
Mountain EP
1993
3.58 | 12 ratings
Another Ugly EP
1994
4.50 | 2 ratings
Leave It Like That
1994
3.11 | 8 ratings
Wearing Yr Smell
1994
3.64 | 11 ratings
The Nerve Tattoo
1995
3.38 | 8 ratings
Manmower
1996
3.00 | 2 ratings
Motorpsycho / Alice Cooper: Mad Sun / Nobody Likes Me
1996
3.00 | 3 ratings
Motorpsycho & Tre Små Kinesere: Mot Riving
1997
3.08 | 7 ratings
Baby Scooter
1997
4.20 | 5 ratings
Have Spacesuit Will Travel
1997
3.50 | 4 ratings
Lovelight
1997
4.00 | 4 ratings
Sinful, Wind-Borne
1997
4.00 | 13 ratings
Starmelt EP
1997
4.13 | 8 ratings
Ozone
1998
3.44 | 9 ratings
Hey, Jane
1998
3.75 | 8 ratings
The Other Fool EP
2000
1.79 | 10 ratings
Walkin' With J EP
2000
3.13 | 17 ratings
Barracuda
2001
3.25 | 4 ratings
The Slow Phaseout
2001
3.25 | 4 ratings
Go To California
2001
3.94 | 111 ratings
Motorpsycho & Jaga Jazzist Horns: In The Fishtank
2002
3.33 | 3 ratings
Motorpsycho / The Soundtrack Of Our Lives: Go To California / Black To Comm / Broken Imaginary Time / Galaxy Gramophone
2002
3.33 | 3 ratings
Serpentine
2002
3.57 | 14 ratings
Serpentine EP
2002
0.00 | 0 ratings
Motor Home: Country Chris / Life Is A Little Lie
2003
3.00 | 2 ratings
Motorpsycho Presents The International Tussler Society - Satan's Favourite Son
2004
3.00 | 2 ratings
Motorpsycho Presents The International Tussler Society - Laila Lou
2004
3.33 | 3 ratings
Hyena / Bonny Lee
2006
4.00 | 3 ratings
X-3 (Knuckleheads In Space)
2010
5.00 | 1 ratings
The Visitant
2010
2.67 | 3 ratings
Motorpsycho / Sugarfoot: Stay Young / These Are Days
2014
2.50 | 4 ratings
The Ninth Fragment - Toys
2014
3.05 | 10 ratings
The Motorpnakotic Manuscripts
2014
3.00 | 3 ratings
Psychonaut / Toys
2015
3.00 | 4 ratings
Spin, Spin, Spin
2016
4.29 | 7 ratings
Here Be Monsters Vol. 2
2016
3.50 | 4 ratings
The California EP
2017
3.25 | 4 ratings
Terje Brekkstads Kosmiske Reise (pts 1 & 2)
2019

MOTORPSYCHO Reviews


Showing last 10 reviews only
 The Crucible by MOTORPSYCHO album cover Studio Album, 2019
4.02 | 140 ratings

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The Crucible
Motorpsycho Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

5 stars There isn't anything about this album that I don't like. This is easily a top five MOTORPSYCHO album for me and I look forward to doing that list in the future. This is also a top five for 2019's Album of the Year list. This is just over 40 minutes long and heavy. And only three tracks including the almost 21 minute self-titled closer. I have to say the new drummer who arrived with their previous album "The Tower" is very impressive. And the art work! Has to be the Pharoah and the Egyptians drowning in the Red Sea.

"Psychotzar" opens the album at almost 9 minutes and riffs hit us right away like getting rabbit-punched and vocals follow. Vocals come and go as the beating continues. Guitar solo after 2 minutes then almost mono-toned vocals before 3 1/2 minutes out of the riffage. More guitar solos then a calm after 5 1/2 minutes. They start to amp it up again after 7 minutes. Great start!

"Lux Aeterna" at almost 11 minutes has some guest reeds on it and female vocals. There's this cool section where the music swells and it's very uplifting after 2 minutes and around 4 minutes and then very late as well. Some intensity on this one as well. The guitar lights it up a few times. Some good contrasts here.

The closer is something else and a surprising nod to KING CRIMSON that pops up around 2 1/2 minutes and late before 17 minutes. Some nice upfront bass here at times. But it's the heaviness, love this stuff. Lots of calms to contrast with the powerful moments. This record took me by surprise I must say. Love at first listen. My music.

 Kingdom of Oblivion by MOTORPSYCHO album cover Studio Album, 2021
3.86 | 138 ratings

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Kingdom of Oblivion
Motorpsycho Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Before I even heard of this band they had already released 14 studio albums, it's like they already had a career before I became aware of them. I'll be honest there's not much I've heard prior to "Death Defying Unicorn" that I like. Just my tastes in music but man that five album run starting with that great album I just mentioned with Stale Storlokken helping out right up to "The Tower" is a great run. This doesn't include "Begynnilser" which I don't own. I took a break from buying music from 2018 until early 2022 so I missed "Kingdom Of Oblivion" from 2021 and promise to also get to "The Crucible", "The All Is The One" and "Ancient Astronauts" in chronological order unlike this one.

I just wanted to hear this one because of it being advertised as their heaviest record. It's also a long one at over 70 minutes and there's a lot of social commentary here. The liner notes tell us who is playing but not what they are playing. At the bottom of the "Thankyous" is this long word of over 50 letters no capitals, no spaces and it's kind of funny when you do add spaces and capitals as in "Bent is loud. Tomas is louder. Reine is amazing. But only Snah is god."

Magnus Ryan and Bent Saether have been together since day one of this band going through several drummers along the way. Reine Fiske does add guitar on several tracks as a guest. This is a pretty strong album and for sure 4 stars but at that length they could have pared it down and made it better. I understand though that they wanted to balance the heaviness and it's the lighter tunes that don't do a lot for me so I wish they had have kept with the original plan of making this just about all heavy.

"Lady May" with those intricate guitar melodies and multi-vocals is nice but out of place. "The Watcher" is another one but this is interesting because it is experimental with lots of atmosphere and spoken words. "Atet" is another laid back short track that I guess provides a bumper. Even the closer with the mellotron and haunting sounds for a minute but sadly changes to an underwhelming ending to this record.

Top five includes the opener "The Waning(Pt. 1&2" just the heaviness and riffs with vocals and when the vocals step aside here comes the guitar solo. This track ends really well. The title track is a top five again powerful stuff. Some social commentary here and this is both catchy and relentless although the final minute is more laid back. "The United Debased" is another top five a 9 minute tour de force. SABBATH-styled vocals and some great guitar. "At Empire's End" contrasts the heavy and light really well and at 8 1/2 minutes lots of time to do that. And finally the longest track "The Transmutation Of Cosmoctopus Lurker" at almost 11 minutes brings us to my final top five and it should have been the closer.

A four star record but for me it's not as good as the previous five I own by them.

 Child Of The Future by MOTORPSYCHO album cover Studio Album, 2009
3.61 | 66 ratings

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Child Of The Future
Motorpsycho Eclectic Prog

Review by BrufordFreak
Collaborator Heavy Prog & JR/F/Canterbury Teams

3 stars The boys from Trondheim are back with #14--and show they're still in their imitation of the classic blues-rock of the 1960s and early 1970s.

1. "The Ozzylot (Hidden in a Girl)" (4:30) CSN&Y (harmonized vocals), The ALLMAN BROTHERS (lead guitar work), as well as the early Doobie Brothers and Eagles come to mind while listening to this one. (8.75/10)

2. "Riding the Tiger" (5:25) U2 bass and drums with some Eric Clapton-like psychedelic lead guitar playing over the top. This definitely harkens back to the 1960s blues-rock of bands like CREAM, SPIRIT, and THE DOORS. Very impressive musicianship, but not enough melody and hook to it. (8.75/10)

3. "Whole Lotta Diana" (8:57) musically, one can definitely hear the inspiration of LED ZEPPELIN behind this one, but vocally--with the harmony vocals used throughout, one can only reflect on the BYRDS and maybe a little CSN&Y and/or THE MOODY BLUES. (17.5/20)

4. "Cornucopia (...or Satan, uh... Something)" (6:24) nice CREAM-like rocker with some interesting softer vocals and great drumming. (8.75/10)

5. "Mr. Victim" (4:17) more hard-drivin' blues rock that harbors strains of LED ZEPPELIN, CARAVAN, as well as the heaviest of the MOODY BLUES. This one suffers from some muddy engineering around the vocal tracks and the guitars. (8.66667/10)

6. "The Waiting Game" (4:57) slowing it down and thinning it out with acoustic guitars, bass, and some warbling distorted synth and electric guitar "noises" in the background. The stoned JOHN LENNON-like singing voice might not be Bent, but "Snah." Transition into BEATLES-like electric guitar chord sequencd at 2:50--a motif that becomes fully developed at the song's very end when the choir vocals sing in full BEATLES/BYRDS mode. Haunting and kinda cool. (8.75/10)

7. "Child of the Future" (5:00) sounds like ANDY PARTRIDGE singing over one of his angular, semi-irritating songscapes. An odd mix of the individual tracks for the drums, bass, guitars and vocals--sounding as if the whole thing was recorded through one single omnidirectional microphone. (8.66667/10)

Total Time: 39:30

I will say, these musicians sure are firing on all cylinders (drummer Kenneth Kapstad really shines): this album contains some of the band's best arrangements and most virtuosic performances; it's too bad it suffers from a few too many "borrowed" ideas and an overall lack of melody. Plus, I don't know what happened, but the sound engineering over the course of the last three songs becomes quite muddy with too much distortion and odd mixing.

B-/four stars; a nice addition to any prog lover's music collection--especially if you're a retro-lover of that hard rockin' blues-rock of the late 1960s.

 Yay! by MOTORPSYCHO album cover Studio Album, 2023
4.14 | 48 ratings

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Yay!
Motorpsycho Eclectic Prog

Review by BBKron

5 stars Motorpsycho is a very prolific, eclectic Prog band from Norway. They've been around since 1991, when they started out as more of a punkish grunge band, but then started showing more progressive rock elements by the mid-nineties, while also maintaining aspects of psychedelic and indie rock. They've released a total of 26 albums over the years (and 14 in the last 15 years, with one almost every year!). They continue to feature a wide variety of different styles, genres, and influences, with their music ranging from ambient, minimalist, atmospheric space-rock to gentle acoustic pop to punkish rock all the way to full-on metal, sometimes all on the same album, sometimes separate sounds and feel for each album. So, you never quite know what you're gonna get from Motorpsycho. For this newest album, the band surprises once again with a whole album of mostly acoustic pop and indie folk-rock. songs, and it is fantastic from start to finish! Great melodies, arrangements, and stylish flourishes throughout. And although it has been called an acoustic album, that is not really true, as although most songs do have at least some acoustic guitar in them, many of the songs build throughout to reveal much more lush and symphonic arrangements by the end. The album starts off with the breezy indie pop of Cold & Bored, followed by the ballad Sentinels, which has a Simon & Garfunkel-esque feel to it. Next is Patterns, which is dreamy, richly textured pop that builds to a rousing conclusion. But the album really takes off with the fabulous Dank State, a bouncy acoustic ditty dealing with Norwegian politics, followed by W.C.A, which is a soaring, infectious pop song. However, the highlight of the album for me (and song of the summer, if not the entire year) is the magnificent Hotel Daedelus, the one song on the album that gets the full Prog treatment, a melding of mellotron-drenched orchestration of film soundtrack bombast coupled with a beautiful laid-back 60's-styled pop melody, highlighted by a soaring, scorching guitar solo. The album then finishes on a high note with The Rapture. What a delightful album, a real surprise, and one of my very favorite of the year. Just wonderful, and such a breath of fresh air amidst all the heaviness around. Best tracks: Hotel Daedelus, Dank State, W.C.A., Loch Meaningless & the Mull of Dull, Real Again. Rating: 4.5 stars
 Little Lucid Moments by MOTORPSYCHO album cover Studio Album, 2008
4.00 | 131 ratings

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Little Lucid Moments
Motorpsycho Eclectic Prog

Review by BrufordFreak
Collaborator Heavy Prog & JR/F/Canterbury Teams

4 stars Another year, another album from these ever-morphing chameleons of guitar-oriented rock--this one yet another celebration of the musics of old.

1. "Suite: Little Lucid Moments" (21:10) a very high-energy jam. (35.25/40): - a) "Lawned (Consciousness Causes Collapse)" - sounds like Echolyn with a little Beck mixed in there. The quiet section in the fifth minute is interesting and DOVES-like. (8.66667/10) - b) "A Hoof to the Head" - heavy bass and smashing, crashing drums with guitars set at maximum distorting with OZZIE-like vocals give this one a SABBATH-on-amphetamines feel. Again, DOVES, Some Cities-era, comes to mind. (8.75/10) - c) "Hallucifuge (Hyperrealistically Speaking...)" - pure Motorpsycho imitation 1960s psych rock jamming. Amazing play from the rhythm section with great blues-rockin' soloing over the top from the wailing lead guitar(s) at both ends and classic Motorpsycho/CSN&Y group vocal harmonies in the middle. (8.75/10) - d) "Sweet Oblivion / Perfect Sense" - the "Sweet Oblivion" part feels a bit more like an old instrumental jam from the likes of THE ALLMAN BROTHERS or but then the vocals return for a bit before everything switches into more of a slowed-down blues-rock jam--this one sounding even more like one of Dickey Betts and Duane Allman's classics. (9.125/10)

2. "Year Zero (A Damage Report)" (11:20) starts slowly, like an old-fashioned jam song, building upon one little guitar and bass riff, achieving full spectrum sound and volume by the middle of the fourth minute. I like the sound but this could get a little old. Suddenly, at 3:30, everything comes to a stop and the song becomes a simple Neil Young-like song--with a single singing voice giving this a very Neil Young-like sound and feel. This lasts until the six-minute mark when the guitars and drums ramp it up again (after the vocals have stopped). At 6:45 the vocals (now harmonized) rejoin amidst the loud soundscape but then the music suddenly cuts out again, replaced by a motif that alternates long spaces with three-strum three-chord power chords. After a few rounds of this, the music kicks back in--high octane--for a nice, long, "raunchy" guitar solo. The drumming and music and soloing are all good--especially if you love the long power jams at the end of ALLMAN BROTHERS or LYNYRD SKYNYRD songs. When the jam ends, there is a 40-second long "distant" (quiet) church organ sound taking us to the end. Okay. (17.333333/20)

3. "She Left on the Sun Ship" (14:30) opens with some angular guitar play that sounds like 1980s U2. When the vocals enter the sound enters something more akin to punk's RAMONES bordering on THE AMBITIOUS LOVERS, but then after the singing ends around 3:30 there is a definite return to that aggressive 1980s U2-ish sound. The slowed down sixth minute sees the band pairing up two guitarists to play off one another exactly like Dickey Betts and Duane Allman (and, later, Thin Lizzy's Scott Gorham and Brian Robertson)--even using twin interwoven melody lines that sound as if they're lifted from (and slightly varied) from music of the aforementioned guitar gods' original songs. The minimalist interweave of guitars and bass in the ninth minute is new--turning into something more akin to 1980s U2 in the tenth. This minimalist weave then continues to the song's end as the sound is manipulated from the engineering room into something more lysergic. A pretty decent jam song! (27/30)

4. "The Alchemyst" (12:30) spacey "distant horn"-like synths feel like they're prepping us for a deleted scene from Stanley Kubrick's 2001: A Space Odyssey. After 90 seconds, guitars enter sounding like something from a DOVES or BILL NELSON album, but then the bass and cymbal-crashing drums. The fourth minute introduces another motif, this one sounding more like something from a 1980s band that's trying to stick more to rock principles--like maybe U2, The Stranglers, The Replacements, or even XTC or The Police. Those great Motorpsycho harmony vocals sing throughout, really hitting the spot. At 6:50 the music pauses as if the band is getting a start on a downhill descent down a steep rollercoaster. The guitar riff providing the glue that keeps the song rolling along gets a little tedious after three minutes. Great drumming all the way to the end of the "ride." Weird song whose parts do not necessarily all feel as if they belong (or work) together. (21.75/25)

Total Time: 59:30

An album of very blues-rock grungy sounding music that may intrigue and endear many hard rock holdovers from the 1960s while impressing only those who have the patience/tolerance for heavily-distorted guitar soundscapes.

B/four stars; an excellent collection of retro-blues-rock music drawing inspiration (and sound) from the 1960s, 1970s, and 1980s (with a little 2000s thrown in for good measure). Highly recommended to any prog lover whose heart is strongly planted in the best psychedelic hard rock.

 Let Them Eat Cake by MOTORPSYCHO album cover Studio Album, 2000
3.95 | 92 ratings

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Let Them Eat Cake
Motorpsycho Eclectic Prog

Review by BrufordFreak
Collaborator Heavy Prog & JR/F/Canterbury Teams

4 stars Yet another stylistic shift with the ever-adventurous musical trio, their eighth studio album release--here trying to imitate many of the late 1960s' psych rock masters.

1. "The Other Fool" (5:40) excellent BEATLES-like song with key orchestral components. (9/10)

2. "Upstairs-Downstairs" (5:12) horns with lazily-strummed acoustic guitars open this one with a long (110-second) intro. When the vocals arrive (really far forward in the mix), I'm quite reminded of the music of COLIN MOULDING and ANDY PARTRIDGE (XTC). (8.875/10)

3. "Big Surprise" (3:36) cute little BEACH BOYS-like song about a breakup. Builds into full band at the one-minute mark with a little more added at the two-minute mark before slowly deconstructing for the final 45 seconds. (8.66667/10)

4. "Walkin' with J." (3:59) horns and meaty opening gives the song a bit of a HENDRIX (bass line)/DENNY LAINE-WINGS combo feel. Great, fun chorus. (8.75/10)

5. "Never Let You Out" (2:46) quirky like a late 1960s Brit psych pop song (not quite The Beatles; more like The Buggles). I very much like the instrumental palette. (8.75/10)

6. "Whip That Ghost (Song for a Bro')" (6:30) shades of future Motorpsycho: a nice instrumental jam song overtly styled after the famous Allman Brothers song "Whipping Post" with a very enjoyable ALLMAN BROTHERS-like guitar sound and style. (8.75/10)

7. "Stained Glass" (6:12) though definitely having a familiar sound and feel to it, I cannot pick up the band or song that this might be imitating (perhaps John Martyn, Richard Thompson, or more Allman Brothers), but it turns out that it accomplishes much as a lovely, delicate little rural folk rock song. (8.875/10)

8. "My Best Friend" (4:21) a nice song on the mellower side of Indie-Folk Rock that sounds kind of like a cross between Scotland's STEALERS WHEEL and THE ALLMAN BROTHERS. I like the calm, almost soporific vocal performance as well as the blues-rock piano beneath it all. (8.75/10)

9. "30/30" (7:21) this one sounds quite a bit like something RADIOHEAD might do with its very creative use of orchestral instruments and synths to create the rather-chamber/classically arranged musical tapestry. (13.375/15)

Total Time: 45:37

Great sound recording and engineering certainly help these mostly-imitative songs please the listeners' ears. Innocuous and pleasant if not presenting anything too ground-breaking.

B/four stars; an excellent addition to any prog lover's music collection.

 Roadwork Vol. 4 - Intrepid Skronk by MOTORPSYCHO album cover Live, 2011
3.56 | 17 ratings

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Roadwork Vol. 4 - Intrepid Skronk
Motorpsycho Eclectic Prog

Review by Dapper~Blueberries
Prog Reviewer

3 stars Strange how this is technically the third live album Motorpsycho released since it came out after Roadwork Vol 2, but even then this would be more technically also considered to be their fourth due to Roadwork Vol 3 being performed before this one. Either way, it is another output in the wide sea of Motorpsycho releases.

This live release was recorded between 2008 and 2010, which was when Little Lucid Moments, Child of the Future, and Heavy Metal Fruit were coming out, so expect this album to be in their more golden age of jammy prog songs.

In my honest opinion there isn't quite much to talk about that probably hasn't been said already surrounding Motorpsycho live albums. It has a good, even great selection of songs in my opinion, especially Kill Devil Hills, and the songs played here are played well, but I wouldn't really call this anything stellar.

Sure there are the two big jams that expanded upon two rather shorter songs in the band's catalog, but besides that the rest of the album, while still good, doesn't quite wow or excite me.

It certainly does have that fun Motorpsycho charm, but nothing really pops out in my ears when listening to this. Certainly not a bad, nor just an ok record, but definitely not one I would call stellar. It certainly gets the job done with its long jams and very fun tracks, but I think it all doesn't quite hold a candle to their studio works, especially around this time.

A short review, yes, but I do not have much to talk about other than the fact that this album is good, but not great.

 Yay! by MOTORPSYCHO album cover Studio Album, 2023
4.14 | 48 ratings

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Yay!
Motorpsycho Eclectic Prog

Review by BrufordFreak
Collaborator Heavy Prog & JR/F/Canterbury Teams

5 stars Ever since discovering Motorpsycho with 2010's Heavy Metal Fruit, I've been a big fan. Until last year I'd always assumed they were authors of sweeping prog concept albums like Unicorn but then I went back into their old discography--back to the 1990s and early 2000s--where I discovered some very cool, very melodic psychedelic pop music. so that Phanerothyme had lept to become my favorite album of theirs. So, when I heard about this album--and then heard the music--my reaction was "It's about time! I've been waiting--hoping--for this!"And then to find out that guitar hero Reine Fiske had a role in the production of this album! What a dream come true! I mean, I've LOVED his work with previous Motorpsycho albums (2013's Still Life with Eggplant, 2014's Behind the Sun, 2020's The All Is One)-- but that'd always been as a player/performer. This is different. I am so excited for this album!

1. "Cold & Bored" (4:01) The Association (8.875/10)

2. "Sentinels" (4:22) beautiful Simon & Garfunkle vocals with a wonderfully spacious, delicate instrumental passage in the middle--all over hand percussion! (9.25/10)

3. "Patterns" (5:11) the Robin Guthrie guitars in the background and heavy.thick electric bass up front and center are the highlights of this one for me. (8.875/10)

4. "Dank State" (3:18) a song that feels as if it came straight out of the folk-rock movement of the late 1960s and early 1970s (or the Nugrass movement of the late 1990s and Naughties). (8.66667/10)

5. "W.C.A." (4:15) multiple acoustic guitars strumming away while Bent sings and countrified guitar/sitar-like guitar leads beneath. The keyboards (uncredited) and/or tuned percussion are also quite good. I'm hearing what sounds like a kind of ALLMAN BROTHERS tribute/revival. (8.875/10)

6. "Real Again (Norway Shrugs and Stays at Home)" (3:03) another very sensitive song that sounds like it comes straight from a 1960s Simon & Garfunkle album. (8.75/10)

7. "Loch Meaninglessness & the Mull of Dull" (2:54) more Paul Simon vocals though never as biting or politically- oriented as Paul was known for. The subtle presence of other instruments in occasional support and/or embellishment is handled quite masterfully. There's quite a little folk/country-western/even British folk-rock feel to this music. (8.75/10)

8. "Hotel Daedalus" (7:46) Wow! I was not expecting this! James Bond theme song bombast with some wonderful Duane Allman-like guitar playing. The beautifully harmonized vocals from the opening notes are powerful, sensitive, and gorgeously melodic but the Duane Allman/(Reine Fiske) lead guitar work is the real showstopper here (though I also love the rhythm guitar work, drums, and chunky distorted BASS). The stripped down, conga-supported instrumental passage in the fourth minute is simply to DIE FOR--especially as the big thick bass and wall of orchestral strings join in. I am in tears! it's so beautiful, so emotional! This is definitely the high point of my 2023 listening (so far). And that's not even mentioning the lead guitar work! Coming out of the beautifully bombastic instrumental theme with some BREAD-like strumming guitar and groove-walking bass playing, Bent finishes it off with his beautiful vocal. Definitely a top three song for me. Maybe the best song of 2023. (It's definitely in the running!) (15/15)

9. "Scaredcrow" (1:50) an excellent comedown from the emotional output of the previous song. (Thank you!) This just shows what masters of putting together an album of music these gentlemen are. (4.5/5)

10. "The Rapture" (5:28) Another acoustic guitar strumming song over which Bent uses his Paul Simon voice and lyrics delivery approach. Bass, more stings, piano, strings, congas, even Mellotron each join in, seemingly one at a time, one line at a time, before we get to the powerful ARCADE FIRE/THE DECEMBERISTS-like chorus delivery. Cool song. The lead guitar(s) interplay with the full orchestra strings is really cool--like a classic Jimmy Webb song ("Wichita Lineman," "By the Time I Get to Phoenix"). Great ending to a great album. (8.875/10)

Total Time 42:08

With so many vocal styles and sounds on display throughout this album (yes, even the voice timbres seem to change from song to song) I can't help but marvel at A) Bent's talents and B) the engineering talents employed for this album's production.

A-/five stars; a minor masterpiece of progressive folk rock music--something that conjures so many great sounds, songs, and bands from the 1960s and 1970s yet, as usual, has the distinctive freshness that Motorpsycho always lends to its compositions. Definitely a masterfully constructed and produced album. And check out Bent's chameleonic vocal abilities! If you do anything today, listen to "Hotel Daedelus" on Bandcamp!

 Yay! by MOTORPSYCHO album cover Studio Album, 2023
4.14 | 48 ratings

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Yay!
Motorpsycho Eclectic Prog

Review by Dapper~Blueberries
Prog Reviewer

4 stars Another year, another Motorpsycho release. Due to me reviewing this band's past discography up until this point, I feel like I am a bit indebted to them. That being said, they have not stopped with their cunning ideals of creating interesting prog rock music, though they took a back seat with the more illustrious heavy jams that we saw on their last 3 albums of this decade, and into a bit of a different direction.

Yay! is an album that is a direct 180 from the heaviness of their former albums, being a lot less proggy in its image, and to more of a psych folk/pop direction, whilst still holding true to those Motorpsycho quirks we all know and love.

Now, not many people, especially prog fans might like this direction, but for me I actually am quite thrilled for what they put on display. I feel like you can get away with very proggy jams and displays for a while, but soon it does get tiring having to hear a long 20 minute song over and over again, so I actually really appreciate Motorpsycho for changing things up and going in a different direction.

For the sound itself, it is actually a really top tier display of psychedelia folk and pop for me, going for these moody melodies that feel very sweet to the ears. I love how it all drips with this chilled out reflection and attitude, as if the band, in a more metaphysical context, decided to wind down for the night and relax with some hot chocolate whilst watching a movie. I love Motorpsycho for their frantic and fast jams, do not get me wrong, but I also think that taking a focus to more melodic and slower stuff actually works really well in their favor. I mean, look at tracks like Patterns and Real Again, with those beautiful melodies and picturesque vibes. Most of the songs here definitely set a new standard for this psych sound, and one that I really appreciate going forward.

However, this album does have a problem and that is the fact I do not really think the last three tracks work all that well. I think Hotel Daedalus, while a really good track, simply does not fit the album at all, in fact it sounds something off of the Gullvåg trilogy more than anything. As for Scaredcrow, I feel like that song should've stayed off the record. It is virtually nothing. Lastly, The Rapture, is a good song but I am not fond of the weird reverb it has with the mixing, and I feel like the guitar solo near past the halfway point just doesn't quite work out too well. Now, again, these songs (besides Scaredcrow) aren't bad, but I think they do not quite work to the album's credits. Definitely not the worst tracks to cap this album off, but they feel pretty out of place in regards to the rest of the record.

I can tell this album might not be the most popular, as Motorpsycho fans more likely will prefer the huge jams they come up with, but I do not think it'll be hated to no end. I say check it out, I really like it, and who knows it might be your thing too, and it might mark a completely new era for the band, one that explores more of the psychedelic headspace then what was found in the past 2 decades.

 Roadwork Vol. 3 - The Four Norsemen Of The Apocalypse - Live At The Paradiso, Amsterdam, November 23, 2002 by MOTORPSYCHO album cover Live, 2018
3.96 | 5 ratings

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Roadwork Vol. 3 - The Four Norsemen Of The Apocalypse - Live At The Paradiso, Amsterdam, November 23, 2002
Motorpsycho Eclectic Prog

Review by Dapper~Blueberries
Prog Reviewer

4 stars I will be skipping Roadwork Vol 4, as I think it is best to stay in, somewhat, numerical order of things when it comes to the Roadwork albums, even if Roadwork Vol 4 did release first.

This album came about in between The Tower and The Crucible, but was recorded during the band's era when they were a lot more overtly psychedelic, away from their stoner metal and grunge days, and many of the songs here are from Let Them Eat Cake, Phanerothyme, and It's A Love Cult, but some of their more heavy stuff do creep up, even Lobotimizer gets some love here with the 21 minute reinterpretation of Hogwash.

I think the best part of this record is the jovial love poured into each track, with fun jams like Custer's Last Stand, and Neverland, and moving pieces of music like Starmelt/Lovelight and Stained Glass. You can just feel the band enjoying themselves on each song, and for that I really adore it.

I also really like the longer tracks on here, that being Stained Glass, 577, Hogwash, and Stg. Most of these are longer and more jammy versions of shorter songs, and so for how the band crafts these over time through their new found longer skin, it gives them a new energy and life, one that I have never experienced a lot in music and live albums. It is really unique and magical, though I will say the middle section of Hogwash is a little boring.

I will also say that I feel like the album, or more accurately the live show should've ended with Stg instead of Neverland, as Neverland feels kinda out of place as the closure, and in general I feel it to be a tiny bit unneeded, but that is more of a nitpick then anything.

A really good live album from one of the modern prog greats. Check it out if you have the time to spare as it is really good for what you get.

Thanks to windhawk for the artist addition. and to Quinino for the last updates

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