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MOTORPSYCHO

Eclectic Prog • Norway


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Motorpsycho biography
Founded in Trondheim, Norway, in 1989

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 band set up their own label ...
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TowerTower
Imports 2017
$19.12
$23.09 (used)
Angels & Daemons at PlayAngels & Daemons at Play
Box set
Rune Grammofon 2017
$22.50
$24.53 (used)
Trust UsTrust Us
Stickman 2003
$25.30
$22.90 (used)
Timothys MonsterTimothys Monster
Box set
Rune Grammofon 2010
$31.14
$31.12 (used)
Here Be MonstersHere Be Monsters
Rune Grammofon 2016
$31.08
Behind the SunBehind the Sun
Rune Grammofon 2014
$14.09
$14.07 (used)
Roadwork, Vol. 4: Intrepid SkronkRoadwork, Vol. 4: Intrepid Skronk
Rune Grammofon 2011
$13.27
$13.80 (used)
Demon BoxDemon Box
Rune Grammofon 2015
$35.35
$35.80 (used)
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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)

3.01 | 39 ratings
Lobotomizer
1991
3.76 | 55 ratings
Demon Box
1993
3.83 | 80 ratings
Timothy's Monster
1994
3.28 | 20 ratings
The Tussler
1994
3.14 | 47 ratings
Blissard
1996
3.48 | 56 ratings
Angels And Daemons At Play
1997
4.08 | 90 ratings
Trust Us
1998
3.90 | 66 ratings
Let Them Eat Cake
2000
4.14 | 106 ratings
Phanerothyme
2001
3.83 | 50 ratings
It's A Love Cult
2002
4.18 | 76 ratings
Motorpsycho & Jaga Jazzist Horns: In The Fishtank
2002
3.86 | 20 ratings
Motorpsycho Presents The International Tussler Society
2004
3.61 | 63 ratings
Black Hole / Blank Canvas
2006
3.89 | 99 ratings
Little Lucid Moments
2008
3.45 | 47 ratings
Child Of The Future
2009
3.78 | 205 ratings
Heavy Metal Fruit
2010
4.16 | 443 ratings
Motorpsycho & Ståle Storløkken: The Death Defying Unicorn
2012
3.95 | 175 ratings
Still Life With Eggplant
2013
4.02 | 299 ratings
Behind The Sun
2014
3.83 | 114 ratings
Here Be Monsters
2016
3.76 | 10 ratings
Begynnelser
2017
4.03 | 170 ratings
The Tower
2017

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

4.38 | 8 ratings
Roadwork Vol. 1 - Heavy Metall Iz A Poze, Hardt Rock Iz A Laifschteil - Live In Europe 1998
1999
4.33 | 3 ratings
Roadwork Vol. 2 - The MotorSourceMassacre - Motorpsycho, The Source & Deathprod Live At Kongsberg Jazzfestival 1995
2000
4.14 | 12 ratings
Roadwork Vol. 4 - Intrepid Skronk
2011
3.60 | 5 ratings
Strings Of Stroop - Live At Effenaar
2011
4.45 | 11 ratings
Motorpsycho and Ståle Storløkken: En Konsert For Folk Flest
2015

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

5.00 | 2 ratings
This Is Motorpsycho
1995
5.00 | 1 ratings
Hair Cuts - Motorpsycho On Film
2008

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

3.15 | 9 ratings
8 Soothing Songs For Rut
1992
0.00 | 0 ratings
Angels And Daemons At Play
1997
4.00 | 2 ratings
Timothy's Monster - Deluxe Edition
2010
3.50 | 2 ratings
Blissard - Deluxe Edition
2012
4.00 | 2 ratings
Demon Box - Deluxe Edition
2014
4.75 | 4 ratings
Supersonic Scientists - A Young Person's Guide To Motorpsycho
2015
3.00 | 1 ratings
Angels And Daemons At Play - Deluxe Edition
2016

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

2.05 | 2 ratings
Maiden Voyage
1990
3.00 | 2 ratings
Soothe
1992
3.00 | 2 ratings
3 Songs For Rut
1992
0.00 | 0 ratings
Motorpsycho
1992
0.00 | 0 ratings
Motorpsycho / Hedge Hog: Into The Sun / Surprise
1993
4.17 | 6 ratings
Mountain EP
1993
4.00 | 5 ratings
Another Ugly EP
1994
0.00 | 0 ratings
Leave It Like That
1994
3.00 | 3 ratings
Wearing Yr Smell
1994
3.80 | 5 ratings
The Nerve Tattoo
1995
4.00 | 2 ratings
Manmower
1996
0.00 | 0 ratings
Motorpsycho / Alice Cooper: Mad Sun / Nobody Likes Me
1996
0.00 | 0 ratings
Motorpsycho & Tre Små Kinesere: Mot Riving
1997
2.95 | 2 ratings
Baby Scooter
1997
4.00 | 1 ratings
Have Spacesuit Will Travel
1997
0.00 | 0 ratings
Lovelight
1997
0.00 | 0 ratings
Sinful, Wind-Borne
1997
4.00 | 4 ratings
Starmelt EP
1997
4.50 | 2 ratings
Ozone
1998
3.67 | 3 ratings
Hey, Jane
1998
4.00 | 2 ratings
The Other Fool EP
2000
1.30 | 4 ratings
Walkin' With J EP
2000
3.06 | 8 ratings
Barracuda
2001
0.00 | 0 ratings
The Slow Phaseout
2001
0.00 | 0 ratings
Go To California
2001
0.00 | 0 ratings
Motorpsycho / The Soundtrack Of Our Lives: Go To California / Black To Comm / Broken Imaginary Time / Galaxy Gramophone
2002
0.00 | 0 ratings
Serpentine
2002
3.50 | 6 ratings
Serpentine EP
2002
0.00 | 0 ratings
Motor Home: Country Chris / Life Is A Little Lie
2003
0.00 | 0 ratings
Motorpsycho Presents The International Tussler Society - Satan's Favourite Son
2004
0.00 | 0 ratings
Motorpsycho Presents The International Tussler Society - Laila Lou
2004
0.00 | 0 ratings
Hyena / Bonny Lee
2006
0.00 | 0 ratings
X-3 (Knuckleheads In Space)
2010
0.00 | 0 ratings
The Visitant
2010
0.00 | 0 ratings
Motorpsycho / Sugarfoot: Stay Young / These Are Days
2014
2.00 | 1 ratings
The Ninth Fragment - Toys
2014
2.92 | 3 ratings
The Motorpnakotic Manuscripts
2014
0.00 | 0 ratings
Psychonaut / Toys
2015
0.00 | 0 ratings
Spin, Spin, Spin
2016
4.67 | 3 ratings
Here Be Monsters Vol. 2
2016
0.00 | 0 ratings
The California EP
2017

MOTORPSYCHO Reviews


Showing last 10 reviews only
 Black Hole / Blank Canvas by MOTORPSYCHO album cover Studio Album, 2006
3.61 | 63 ratings

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Black Hole / Blank Canvas
Motorpsycho Eclectic Prog

Review by TCat
Prog Reviewer

3 stars "Black Hole/Blank Canvass" is the first Motorpsycho album without their long-time drummer, so they were now down to 2 regular members. This double album, released in 2006, shows Motorpsycho continuing to expand and experiment with styles. It is also their 11th full length album.

We start out with 3 tracks that are somewhat straightforward stoner style rock, though the first one is the most appealing track, but other than being good rockers with a slight unfinished edge to them, there isn't much else interesting here. But from "Kill Devil Falls" on, the music suddenly takes on a very psychedelic feel with some experimentation going on, which makes the music more unique and keeps you interested, but it can take some time for it to grow on you.

This album is an interesting beast, because has got a lot of great and interesting tracks on it, but it also seems somewhat unpolished, which both works for and against it. There are passages that seem to go by without a lot of development, then all of a sudden, there is something added that turns the track from mediocre to quite amazing, one specific case is "Critical Mass" where we have a psychedelic feel through the first half of the song which feels really flat and uninteresting, then there is a sudden almost orchestral addition to the song that suddenly brings it to life, and everything just makes total sense. Expect this to happen throughout this album.

Then there is the matter of the vocals on this album. They sound slightly hesitant and unsure, and this works well at times, but many times it tends to bring the overall quality down a bit. The unpolished sound works well for the psychedelic aspect of the album however. The album has sort of a structured/spontaneous feel, if that makes any sense. There is definite direction that the band wants to go with each track, but when it gets there, it almost seems like it was by accident. Its like they stumble on to a certain riff or sound and then they flip everything on its end and turn it into something amazing.

"Devil Dog" is a definite highlight on the first album, with a unique sound that stays mostly subdued, but then suddenly explodes into a nice complex heavy section in the middle. Then there is "Triggerman" which has an awful lyrical section, but the instrumental section is just plain killer! Other highlights are "Sail On", the space rock inspired "L.T.E.C. (Deja-Vulture Blues)", and the jazz fusion track "Before the Flood". Low points are when they try to go alternative and don't do so well as on "The Ace", "In Our Tree", "Hyena", "Coalmine Pony".

It's hard for me to decide. The band didn't quite perfect their sound on this one as if they weren't sure what do to without their third member, but then sometimes they suddenly turn things around making their insecurities into strengths that end up making the strong sections even more powerful. I guess I could say I love about half of the album and the other half I feel is lacking. The problem is, it can have both traits in one track. That makes the album seem somewhat disjointed, but there are some very awesome passages here that still make this a worthwhile album.

In summary, I guess that means that this is not the best album to enter into the world of Motorpsycho with, I would probably start with "Behind the Sun" especially for Progressive lovers. However, this is not an album to completely ignore either, so I would come back to it later, when you are more familiar with just how great this band can be. Those that love psychedelic and/or stoner rock would probably love this album though.

 Behind The Sun by MOTORPSYCHO album cover Studio Album, 2014
4.02 | 299 ratings

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Behind The Sun
Motorpsycho Eclectic Prog

Review by TCat
Prog Reviewer

5 stars 'Behind the Sun' was released in 2014 and was another of many Motorphsycho albums. This album had an interesting thing about the vinyl version. It was a double album, but the music from the album fit on 3 sides. On the A side of the album, it is noted that there is an etching, but there is also a double etched track that features 2 instrumental songs. The song that plays is determined by where the record needle is put down on the track. Both of these songs are about the same length, nearing 4 minutes long and neither one of them is available on the CD or download versions of the album, only on the vinyl. Unfortunately, I have not heard them because I don't own the vinyl. But it's a neat little hidden surprise for those that do.

This is one of Motorpsycho's more progressive albums. You will swear, with the classic vibe that runs through this album, that you have been transported back to the heyday of progressive rock, namely, the 70's. You get a heavy dose of stoner, psychedelic, progressive amazing-ness,

'Cloudwalker (A Darker Blue)' starts off the album, officially that is. Right away you notice the tricky rhythm and the nice progressive sound. The melody is reminiscent of 70's style progressive rock and it grabs your attention right away. There is great guitar, and the mellotron sticks out quite well during the instrumental break, and there is a nice acoustic, folksy feel during this time, but otherwise it is a fairly heavy, yet the rhythm is not your standard meter, and that makes it all an excellent sound.

'Ghost' comes next. Like the last track, it lasts a little over 6 minutes, and has lead vocals from Bent Saether, who has the mellower voice of the 2 lead singers. This one starts off on a more acoustic and slower tempo, and the mellotron comes in early, giving this a classic and amazing sound. The vocals have a softer edge with the right amount of vulnerability to them. Very pensive and nice. The 2nd verse adds some effects to the vocals and some other interesting accompaniment that gives it that psychedelic feel that will make you think you are listening to an awesome band from an earlier decade that for some reason you completely missed. Beautifully done.

'On a Plate' is a more hard rock oriented sound, but still retains a tricky guitar riff keeping things progressive. Hans Ryan has the lead on this, and his vocals are gruffer and fit the feel of the harder tracks. This one features a great guitar solo over the top of another guitar doing this amazing hard riff. It also has a great psychedelic vibe underlying everything. 'The Promise' carries forward with the same general feel, but there is some alternating acoustic and electric riffs. This one is also more complex sounding than the last, but still just as great. Again, there is another kickin' guitar solo in the middle.

'Kvaestor [incl. Where Greyhounds Dare]' has a complex beginning with crazy drums, a fairly basic guitar riff against a repeating background that all somehow fits together nicely. The guitars get a bit crazy and chaotic as they take charge of this instrumental. Things pull themselves back into order as the double guitar riff re-establishes itself. When everything breaks down, there is a lot of feedback against wild drumming. Things go psychedelic for a minute, then the music kicks around a bit with it's wild meter before returning to the riff again, this time with more improvisation involved before a dose of more psychedelia tears the track apart. This is 7 minutes that goes by way to quickly.

'Hell Pts 4 ' 6: Traitor/The Tapestry/Swiss Cheese Mountain' countinues the multi suite that started on the previous album 'Still Life With Eggplant'. Starting with a mid tempo beat and a nice mellow, folk sound, you would think you were almost listening to Paul Simon at times, except for that excellent multi-electric guitar interlude after the 2nd verse. After a while, it changes to an ambient, somewhat subdued, acoustic guitar with some mellotron added in for atmosphere. The ambience lasts for a lot longer than you expect, but it gives everything a nice, peaceful setting. Then it starts to build at about the 7:30 mark that leads to more vocals in a folk setting, then a sudden interruption as everything suddenly breaks loose. This section of the suite has a slight lilt to it that still give a folk feeling, but at a more intense and intense level. Somewhere after 11 minutes, vocals start again, but at a much more intense level than before and some great harmonies. Things end rather quickly after the 12 minute mark.

'Entropy' starts with a strummed acoustic guitar and bass. Vocals start, almost reminding one of the early songs of Dewey Bunnell of 'America', just less poppy and more progressive, but seriously, it sounds a lot like him. Just before 4 minutes, electric guitars take on another great solo. After this, things calm down again for another vocal section, then grow more intense again. I can't believe how fast these songs fly by even when they exceed 7 minutes like this one. This album is just full of stellar performances and amazing tracks.

'The Magic and The Wonder (A Love Theme)' is surprisingly heavy, not what you would expect from this title. Again, we get another complex song with some excellent harmonics and more tricky rhythms. This is a shorter track at just over 4 minutes, but it's still quite excellent and progressive.

'Hell Pt. 7: Victim of Rock' starts off very chaotic with everything coming at you full bore and stays that way for over 7 minutes of run time. Even the vocals, when they start, sound quite unhinged. It remains quite unrelentless throughout with a wall of noise. It suddenly goes into a more processed sound with some very strange effects when the vocals reappear. It is almost if they pulled out all of the stops for the last track.

This is Motorpsycho at their best, with an album full of top quality progressive rock. Every track here is amazing, this album has no filler, just some of the best hard, progressive music. Motorpsycho has explored many genres in their time together as a band, sometimes they get everything right, and sometimes they miss the mark, but on this album, they hit it right square on the nose. If you are wondering where to start with this band, this is the place. I tell you, this one will impress you. 5 stars!

 Begynnelser by MOTORPSYCHO album cover Studio Album, 2017
3.76 | 10 ratings

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Begynnelser
Motorpsycho Eclectic Prog

Review by TCat
Prog Reviewer

4 stars Motorpsycho has definitely tried their hands at several different genres throughout their time as a band, and each time, especially with their later discography, you are not sure what to expect. This album, however, is probably the furthest from their original sound that they have ever traveled. The music on this album is all based on music from a play, which Motorpsycho played live on every showing. The play itself is based on the life of the main character, except it is all done backwards, from death to life, pretty much all viewed through memories of the character. The album title, 'Begynneleser' means 'Beginnings' in English. The music on the album is only based on the music from the play since the actual music can vary quite a bit from what you hear on the album, but it is similar. The music is also all instrumental. Most of the tracks are short, but a few of them venture beyond the 6 minute mark.

It starts off with a nice acoustic lead guitar, but soon changes to a raspy, dissonant guitar on top of it and alternates between laid back and contrasts with that strange raspiness. This track is followed up with 'Terje's Sang' a flute or some other kind of reed instrument played over a nice picked/strummed acoustic guitar. There are parts where the reeds are layered for a nice harmonic effect. 'Jaques Tati' has more of a folkish Jewish vibe with both traditional and strange sounds. This has a nice rhythm to it, but the rhythm is not being carried by percussive instruments, but some kind of plucked bass and guitar. 'Trylleball' uses vibraphone and what sounds like another reed instrument, oboe or clarinet maybe with some psychedelic flavor added in the vibes which have taken on a reverb effect.

Ever ones to surprise, Motorpsycho ventures next into a reggae vibe with mellotron and other processed instrument sounds. Sounds get bent giving this a strange atmosphere that grows a little dissonant and unsettling. 'Taterhjulets Gnaur' utilizes the low reeds again against an electronically reproduced and repetitive riff while bent sounds from the mellotron play along. This one is mostly repetitive with improvised instruments on top of it, and even if it's only three and a half minutes, it gets old fast. 'Englevinger' sounds like an old orchestrated soundtrack from an 1950s movie that eventually gets put through an echo chamber changing it to a scary movie. It's short at just over a minute.

The next 2 tracks break the 4 minute mark at last. Up to this point, the album is nice, but somewhat disjointed which could have been helped with better development. 'Sirkelpust' has a simple motif that sounds like passing time with a strange operatic tenor voice above it all, but I believe this is an electronically produced voice from the choppy sound of it. It's kind of strange, not in a good way. After a while, loud synthesizer chords start playing. As it gets more intense, it gets better. This is one of those tracks that's hard to know what to think about it without seeing the visuals that would go along with the enactment of the play. Next is 'Satan'. I don't know if it's the Satan of religious folklore, or an untranslated word meaning something else, but it sounds like it could mean the former Satan, as the music is discordant and spooky with processed organ and other weird sounds. This is good for Halloween music, but is interesting enough to be something other than just a novelty track.

Finally, a track over 7 minutes. 'Over Nyhavna' is an atmospheric track with crashing cymbals and other repeating percussive noises. Soon, a drone fades in and out alternatively. A maladjusted melloton plays just at the edge of hearing from out of the drone and increases in volume. Suddenly, we have trekked into avant-garde style music with this one. As it increases in volume over time, it gets more unsettling. Personally, I like this one and must say that things are more interesting when the tracks have more room to breathe. This sounds like some of 'Ulver's' more avant-garde music.

Next we get some atmospheric mellotron with a nice warbling electronic effect. Again, there is the feeling of suspense, but in a more mysterious and ambient style than the last track. You again get that 'Ulver' soundtrack vibe. This is followed by a longer track 'Gutan I Skogen'. This one starts out ambient with some keyboard chords that sound far off in the distance, and other electronically produced sounds surround that. You get a sort of Avant-folk feel with this as it gives you a Celtic or Icelandic vibe. Other layered instruments and sound come in, and things build in volume slowly. Very nice atmosphere and imagery with this one. This all wraps up with a very quick reprise of 'Terje's Sang'

This is definitely not the 'Motorpsycho' that you would expect in any way, shape or form. The album starts out interestingly enough, but with several short tracks in a row, it tends to sag in the middle. You will notice, however, that things get stranger as the tracks continue. When you finally reach 'Sirkelpust', and the tracks start to go over the 4 minute mark, things really get more interesting, and the tracks venture from straightforward music to more avant-prog territory. Do not expect to hear any Stoner music on this album, and there is not traditional percussion to be found on this album either. It is all instrumental. I would imagine that the music is even more interesting with the play going on in front of you and it probably makes more sense too. But I can say for sure, that the 2nd half of the album shines and is quite impressive as it reaches the more adventurous and experimental tracks of the 2nd half. Regardless of the weakness of the first half after the first few tracks, this is still overall a great album, and I have no problem giving it a 4 star rating. But remember to keep your mind open because this is not what you would expect even after the band did start venturing into more Progressive music.

 Walkin' With J EP by MOTORPSYCHO album cover Singles/EPs/Fan Club/Promo, 2000
1.30 | 4 ratings

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Walkin' With J EP
Motorpsycho Eclectic Prog

Review by TCat
Prog Reviewer

1 stars 'Walkin' with J' is the 2nd EP released by Motorpsycho released in conjunction with their album 'Let Them Eat Cake'. It contains the title track, which is also on the album, but the other 4 tracks on this EP are original. The other EP released to support this album was 'Barracuda' and it was comprised of all original music recorded at the same time, however, the tracks were a lot more Hard Rock than the album. So, the question is, how is this EP?

'Walkin With J' is the first track and is exactly the same as on the album. It starts off with a low brass instrument signaling the introduction of the song. Of course, it is the more middle of the road style number, but with a lot of attitude. Right away, you can tell it is nothing like the music that was on the other EP. It isn't as straightforward, for one thing with its interesting brass section and a melody that is a lot more complicated. The theme of the song is a stab at organized religion.

'Junkfood Mailbomb' is even more complicated than the first track. It has a sound like Matthew Sweet, but with a more progressive and psychedelic edge. It unfortunately fades out when it really starts to get interesting.

'Captian Geebheart' has some strange processed vocals and a whacky riff. This one tries to be something straight from left field, but fails miserably and is too short to develop into much of anything.

'KR-3 Parts 1 and 2' is the longest track at 5 minutes. It starts out with a repeating percussion and bass pattern and a drone that buzzes along. On top of this is a light-hearted keyboard and falsetto vocals. This is a little better, and even has brilliant harmonies in the chorus, but the background music is too repetitive. This fades at around 3 minutes, and then fades back in with just the keyboard part and then processed vocals repeating the same melody. The vocals this time are warped and soon the music gets warped too.

'Abendspariergang' is just over 2 minutes and is an instrumental. It sounds like a broken calliope and just ends up sounding obnoxious.

So far, except for the title track, this EP is just made up of what sounds like patched up tracks that are trying to be experimental, but seem to fail at it. In contrast to 'Barracuda' EP, which concentrated on straightforward heavy rock numbers, this one sound like a bunch of under developed attempts. I would stay away from this one, and you can't even pass it off as being art rock. There really isn't anything that great about this one. It's a mess.

 Barracuda by MOTORPSYCHO album cover Singles/EPs/Fan Club/Promo, 2001
3.06 | 8 ratings

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Barracuda
Motorpsycho Eclectic Prog

Review by TCat
Prog Reviewer

3 stars 'Barracuda' is what the band refers to as a mini-album, so it's an EP, though it is over 30 minutes long. It was recorded in 1999, but released in 2001. It is comprised of songs recorded at the same time as the album 'Let Them Eat Cake', but were left off of that album. I believe the reason they were left off of the album is because they are more rock oriented, thus they did not quite fit with the songs on the album. Whatever the reason, this is a total rock out album, and it's good.

It starts out with 'Heartbreaker', which is full bore rock and roll, with heavy guitars, and fast tempo, hard driving beat. You get a nice brass section with it, and the amazing gruff vocals. Straight ahead hard rock that will make you want to 'bang yer head'. 'Up 'Gainst the Wall (High Time)' has similar sound to 'The Who', with a killer guitar solo. 'Star Star Star' has a good guitar riff accentuated by 'Chicago'-style horns, but the chorus is very repetitive vocally, as the title insinuates. 'Vanishing Point' has shades of early 'Blue Oyster Cult' with a driving rhythm and a slightly eerie feel. The instrumental break has a features a rocking guitar solo followed by a great electric piano solo. 'Rattlesnake' is rather weak in the verses in the vocals but the bass rocks.

The last two tracks are longer lasting around 7 minutes each. 'Dr. Hoffman's Bicycle' starts with guitar that is reminiscent of 'The Who' again, but is joined by what sounds like bagpipes at times. The instrumental breaks are pretty awesome. 'Glow' has a more blues-y feel to it, but still with a fast paced beat, somewhat similar to 'The Black Crowes'.

No, there isn't a lot of progressive rock here, but there is plenty of hard-driving rock which would make any lover of 70's style rock very happy. It is high quality hard rock, and it is all for guilty pleasure more than anything. It doesn't really require a lot of time to grow accustomed to it, it is a good album for those that think that there hasn't been any great rock music since the 70s. In progressive terms, I regret that I can only give it 3 stars, but in great rock music, it is easily 5 stars.

 Baby Scooter by MOTORPSYCHO album cover Singles/EPs/Fan Club/Promo, 1997
2.95 | 2 ratings

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Baby Scooter
Motorpsycho Eclectic Prog

Review by TCat
Prog Reviewer

3 stars "BabyScooter" is another EP from Motorpsycho originally released in 1997. It was released as the first of a series of EPs, the 2nd was "Have Spacesuit Will Travel" and the 3rd was "Lovelight", all 3 released in very limited quantities. Later that same year, the 3 EPs were released together as the album "Angels and Daemons At Play", thus making the 3 EPs collector's items, but also rendering them obsolete.

"Sideway Spiral" kicks off this EP with a very psychedelic sounding tune. The vocals and supporting wordless vocals are processed and supported with a processed strummed guitar and other synth sounds. A nice organ finishes off the track with wild percussive sounds.

"Walking On the Water" is a more traditional sounding track with a great heavy guitar and bass riff starting off. This track sounds more like Motorpsycho of the past, but there are more progressive leanings here with some tricky rhythm patterns and a sense of psychedelia. This track is a very nice mix of traditional and progressive sounds and a wicked drum break. Excellent track.

"Heartattack Mac" builds itself off of a solo guitar playing at first, then the rest of the band suddenly erupting in what becomes a great stoner/psychedelic rock feel. That funky scratching sound in the background is a nice touch. This one also has the gruff vocals I love from this band. This track is very heavy, but I love it. The second instrumental break has some great dissonance in the beginning, and then dueling guitars play off of each other as they build to an explosive wall of sound before it all falls apart to a softer interlude and continuing hints of another explosion threaten, but never quite happen. At over 7 minutes, this could have even gone on longer.

"Pills, Powders and Passionplays" is a more psychedelic/jazz vibe. Nice acoustic guitar and drum circle sounding track which even adds a Beatle-esque sound when the sitar joins in, or it sounds like a sitar, but one isn't noted in the credits, so I'm not sure what it is.

"In the Family" goes back to the progressive/hard rock sound accentuated with a nice heavy bass. A great progressive interlude in the middle builds off of U2 style repetitive guitar notes, but with a lot more intensity. It all falls apart in a feedback frenzy and then an oscillating sound persists to the end.

This is an excellent EP with not a single weak track at all. However, it is a good idea to search for the full album, because this 23 minute EP will only leave you wanting more. Excellent music is what is on this EP and you hear the beginnings of the band experimenting with progressive and psychedelic music. If this EP wasn't obsolete, it would have easily won 4 or 5 stars, but don't pass it up if you do see it. This is quality hard progressive music. But get the full album if you can.

 Wearing Yr Smell by MOTORPSYCHO album cover Singles/EPs/Fan Club/Promo, 1994
3.00 | 3 ratings

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Wearing Yr Smell
Motorpsycho Eclectic Prog

Review by TCat
Prog Reviewer

3 stars The 'Wearing Yr Smell' EP was released to promote the single of the same name that originally came from the full album 'Timothy's Monster' (both released in 1994). The EP features that track and also an edited version of 'Leave It Like That' also from that album. It also features 3 songs not available on the regular edition of the album, although they are available on the 4-disc reissue released in 2010. There are 5 tracks with a total running time of around 18 minutes, so the songs on this EP are short, none of them reaching the 5 minute mark.

'Wearing Yr Smell' comes first, and is in the original album version, except that it is mastered differently. It is a good, upbeat song with the trademark stoner rock feel.

'President Block' is original to this EP. It has a great guitar riff and thick bass. The vocals are growly, but retain enough melodic tone to not be considered in the black metal style, but almost. There are harmonies in there also. It is a harder song than the 1st track and a decent song for being an outtake.

'Jr.' is also original to the EP. It has a heavy riff, but with mellower vocals that contrast to the heaviness of the guitar. This gives it a 'Matthew Sweet' or 'Dinosaur Jr.' feel, which isn't a bad thing. Maybe that's why it's called Jr.

'Birds' is the third original track. It has the softer vocals and an acoustic guitar. About half way through, an accordion, or something similar sounding joins in. This one stays quite minimal throughout the track, but is quite a pleasant tune.

'Leave it Like That' is on the LP, but this is in an edited version. It has a little over a minute edited from the original version. It has a driving rhythm and a nice thumping bass. Vocals range from clean to that signature melodic growl. Another good tune, but, as I said, it's cut short.

All in all, this is a good EP, but it is just good, heavy music, nothing really progressive about it. Still, it's rather enjoyable, but the tracks are now available on other sources. It might render the EP obsolete, but it is still worth picking up if you find a cheap used copy somewhere. Even though the tracks are short, they are still well developed songs, especially for B-sides.

 Lobotomizer by MOTORPSYCHO album cover Studio Album, 1991
3.01 | 39 ratings

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Lobotomizer
Motorpsycho Eclectic Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars MOTORPSYCHO is one of Norway's most prolific and diverse sounding bands having racked up much critical acclaim for their ambitious stream of never-ending albums that feature genre-blending stylistic approaches and are most recognized in the world of progressive rock. However in the beginning when the band was founded by vocalist / bassist Bent Saether, guitarist / vocalist Hans Magnus Ryan and original drummer Kjell Runar Jensaen, the band was firmly grounded in the alternative heavy metal and grunge that was taking over the world in the early 90s. After a couple of warm-up demos, MOTORPSYCHO made their debut in 1991 with LOBOTOMIZER which found the band at their rawest, least progressive and as the cover suggests rooted in a stoner-tinged psychedelia or more appropriately called stoner metal.

LOBOTOMIZER fits somewhere in the murky area between hard rock, grunge and alternative metal. Most resembling Soundgarden in their earliest years with heavily distorted down-tuned guitar riffing, chunky bass and that now famous grungy drum along stylistic percussive drive, MOTORPSYCHO also exhibit a heavy speedy drive that keeps the music churning along with only a couple tracks like "Wasted" and "Eternity" slowing things down a few notches. While the heavy rock still retains a rather bluesy compositional approach not dissimilar to Alice In Chains, Melvins or Monster Magnet, the band was already a little more sophisticated than the average grunge band even at the very beginning with more dynamic compositional approaches that were displaying progressive tendencies albeit unfulfilled.

While most of LOBOTIMIZER is on hard rock overdrive, "Eternity" stands out as one of their most psychedelic offerings with lush acoustic guitar strumming, electronic swirling effects reminding me a bit of Hawkwind and more tripped out electric guitar antics. "Hogwash," one of their crowd favorites in live performances extends over eight minutes and provides a cool psychedelic jam that utilizes a heavily distorted guitar groove and Geir Nilsen's guest appearance on Hammond organ bringing a veritable 60s vibe to the table. The best and most accomplished track is reserved as the the closer with the near twelve minute "TFC" which takes both aspects of heavy grungy rock and psychedelia and churns out a lengthy mind bending trip into the alternative promised land with all kinds of Krautrock-ish freakouts thus flaunting their freak flag creds.

While LOBOTOMIZER is heavily steeped in the early 90s regalia of grunge and alternative metal, it's clear in retrospect albeit probably not at the time that MOTORPSYCHO was more sophisticated than the average grunge band on the block. Snuck into the mix was the use of violins and other sound affects to augment the trippiness effect and the interesting mixes themselves evoked an extreme sense of thoughtfulness absent from the major players of the day. While MOTORPSYCHO would score big in their native Norway all throughout their alternative 90s years, success would escape their clutches on a global scale. Although LOBOTOMIZER is often ranked as the band's weakest effort, i find this to be a truly satisfying slice of early 90s alternative metal / grunge that offers a lot more sophistication than the average Nirvana album for sure. Will Saether's vocal antics evoke the 90s, Ryan's guitar feedback and fuzz just as easily bring the 60s to the forefront. Perhaps not their best but not one to be skipped either.

3.5 but rounded down

 The Tower by MOTORPSYCHO album cover Studio Album, 2017
4.03 | 170 ratings

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The Tower
Motorpsycho Eclectic Prog

Review by chelloveck

5 stars When drummer Kenneth Kapstad jumped ship in May 2016, after a brilliant nine year tenure, which revitalized the duo of Bent Sæther and Hans Magnus 'Snah' Ryan, there were doubts as to whom would be able to replace him in the drumstool. After spending the remains of '16 writing and performing music for the play «Begynnelser» («Beginnings»), the band announced in January '17 that they had found the replacement; swedish drummer Tomas Järmyr, student at the conservatory in Trondheim, and a member of such bands as YODOK and ZU. After just a few months together they travelled to California in March and recorded the material which would end up on «The Tower». The more hard-hitting material was recorded at White Buffalo in L.A., while the more pastoral was recorded at Rancho de la Luna in Joshua Tree. Well, enough background. What about the music?

The first thing long time fans would notice is that the songs are more heavy than they have been for quite some time. It seems that the introduction of a new drummer has given the two old-timers an injection of energy, at least if one is to compare this album with Kapstad's last album with the group; «Here be Monsters». In a way, it is comparable to the revitalization Kapstad gave the group, which was shown on «Little Lucid Moments». The first three songs all share this heaviness, although they are quite different. The opening title track is the most proggy of the three, with a healthy dose of mellotron, a great "symphonic" main riff, and a long, multi-part instrumental section in the middle. Great opening. The symphonic tendensies continue on the next track, "Bartok of the Universe", although this a bit more heavier, and conventional in structure. The verses are a great example of the band's ability to create lovely, melodic vocal parts against an aggressive backdrop. A top three track for me. The third track, "A.S.F.E.", meaning 'A Song for Everyone' harkens back to their 90's period, with just a droning riff repeating for seven minutes, with a few variations thrown in. Think Sabbath-meets-krautrock. An okay- ish song, although it does not live up to the standard of the first two tracks.

After the explosiveness of these opening three tracks, there is time for a little psychedelic excursion, which comes in the form of "Intrepid Explorer". The first few minutes are devoted to a mellow and charming vocal part, before we head into space with a seemingly endless buildup, which in my opinion no band does better. Certainly an acquired taste, but for me this js a certain winner. In order to catch one's breath, we are then given the acoustic track "Stardust", laden with CSNY-style vocal harmonies and a touch of mellotron. A pleasant and necessary change of dynamics. It's back to the heavy style with the sixth track, "In Every Dream Home". A great classic rock-vibe sets the tone, including an absolutely facemelting guitar solo from Snah. In the middle there is a change of pace, when Alain Johannes comes in with a flute-part akin back to 70's style prog. A great, and varied track. The vibe from "Stardust" is reintroduced in the next track; "The Maypole", although with a bit more energy here. A very uplifting and pleasant track.

The third to last track, "A Pacific Sonata", is the longest on the album, clocking in at almost 16 minutes. The first eight minutes are devoted to a beatiful CSNY-style ballad, including a heavenly guitar solo from Snah, when this part is done and dusted, Sæther starts to play a quite hasty bass riff, which leads the way for further psychedelic exploration for the remaining minutes, before the opening vocal part is repeated at the end. Probably my favorite track on the album. The penultimate track is the heaviest on the album. "The Cuckoo" starts with an atmospheric mellotron intro, which soon erupts into a doom metal-ish riff. Again, the influence of Sabbath is quite evident. Apart from a short and mellow bridge, this is pretty hardhitting for all of its seven minutes. A good track, but not enough to reach the pantheon. The last track, though, is worthy of consideration. "Ship of Fools" clocks in at around 15 minutes and start of with a repeating piano motif, which goes on for quite a bit, until it enfolds into a proper prog epic. The first five minutes are majestic and uplifting, with great vocal parts, before turning to introspection and a more darker vibe for the remaining minutes. Great, great track.

I will never fathom how these guys are able to churn out quality music at the rate which they are doing. After just three months with a new drummer, they are able to produce a double album with 80 minutes of music, and 95 % of it works perfectly. A real tour-de-force album. I have not mentioned the playing of Järmyr yet, but as you surely would have understood, he fits into the mold perfectly. He is not as 'wild' as Kapstad, but they both have the jazzy touch and knack for improvisation, which is so important for thia band. So to sum up: check out this album. A package full of diversity and fun.

 Trust Us by MOTORPSYCHO album cover Studio Album, 1998
4.08 | 90 ratings

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Trust Us
Motorpsycho Eclectic Prog

Review by aglasshouse

4 stars Motorpsycho is a Norwegian rock band that surfaced around the late eighties. The band named themselves after the 1965 Russ Meyer exploitation film of the same name. The movie follows a veterinarian named Alex Rocco whose wife is raped by a motorcycle gang, and his subsequent revenge plot. This namesake doesn't have the most interesting history, as the biggest reason Motorpsycho picked it was due to all of Meyers' other acclaimed movies having bands forming under their monikers, and "Motorpsycho" was the only one left not taken. However this origin does give a bit of basis into the band's early history. The band started as a stoner/alternative metal band, releasing their debut Lobotomizer in 1991. To call the album special was perhaps an overstatement; it was grungy and rough but also had glimpses of deeper complexity. Aside from the quality, what Lobotomizer marked most importantly was a signal for more to come. As the band progressed through the 90's they almost entirely lost their metal edge, opting for a more and more progressive, hard-rock, Led Zeppelin-esque output. This, in a way, is what made Motorpsycho's albums so unique in their own rights; every single one was like a different era in themselves, unheeded by any superficial tie-downs to any one genre. This is what truly made Motorpsycho an eclectic band.

Now we could take a look at really any one of the band's albums and have an enjoyable experience, but I decided to pick my personal favorite of the bunch. This album was none other than Trust Us, released in March of 1998.

Trust Us is perhaps the most complex of Motorpsycho's 90's material, which is saying something for a band such as this. Usually when it comes to albums released in '98 or '99, I make a point of how the band's sound was changing to fit a new decade, or that they began to synthesize new techniques of that time period. Motorpsycho is unique as Trust Us was not an absolute guarantee in a change of style. It sort of continues where Angels and Daemons At Play left off, albeit with less "indie" attached to it's name. Trust Us takes in a lot of influences, like Pink Floyd and the aforementioned Led Zeppelin. Hans Ryan and Bent Saether's overly-crunching riffs coincide staggeringly with the quieter background music and the overly-intricate drumming of Haakon Gebhardt, but with a few spins it becomes much more cognitively natural as your brain adapts to it. That brings up a bit of a nitpick some might have about Trust Us- pertaining to it's inaccessibility. Many of the tracks are 7+ minutes long and I can see how that could turn casual listeners or those with "musical A.D.D." off. I for one suffer from the latter, yet I'm easily enthralled by the sheer nail-biting talent showcased in some of these songs. '577' is undoubtedly my favorite, starting with the soft croon of Ryan and Saether's harmonizing vocals and leading directly into 4 minutes of unique and complex guitar solos, until finally re-arriving at the vocals. For me it's a true flagship of the bands talent with instrumentation (which undeniably is where they shine the most). However on the less heavy side, 'Ozone' is a bluesy kicker with a dash of White Stripes and a disarmingly fun beat. On the prog side 'The Ocean In Her Eye' fits the bill, an almost post-rock infusion undercutting an over nine minute long exercise of the band's creative muscle. Other tracks hold their own water very well but this praise isn't meant to be dealt by me, at least I don't believe so. Trust Us is a whopping 81 minutes and is nothing short of an experience that should be held at a personal angle rather than given away. I mean that in the most positive way that I can.

Motorpsycho is a unique band and revolutionary in their field. Although I wouldn't necessarily recommend that a first-timer start at Trust Us, I would conversely recommend that anyone looking for a powerful experience whilst stuck in a musical drought, then this album is definitely for you. Good luck.

4.5/5 rounded to a 4/5.

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

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