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LP
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MPLP 306LP
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LP version. Considering the tight run of albums since the first part of the Gullvåg Trilogy in 2017 -- three double and a single album in less than four years -- the 16 months wait for Ancient Astronauts must feel like an eternity for the fans. Much of the music continue in the manner of Motorpsycho's popular long form "N.O.X." suite from The All Is One (MPCD 104CD/MPLP 304LP, 2020) album, including "Mona Lisa/Azrael" and "Chariot of The Sun", the latter clocking in at 22 minutes, being the band´s longest instrumental track to date. Most of Ancient Astronauts was recorded in Amper Tone studio in Oslo during five days in August with old compadre Deathprod at the helm. All four tracks are basically the band playing live in the studio, with the odd keyboards, some guitar and the vocals added afterwards. Some of it is in turns pretty frantic and angular or grandiose and hypnotic and is mined from the same sources as the band's more explorative music from recent years. Meaning there aren't many choruses to hang on to here, but plenty of mouthwatering music for the progheads. The album was mixed by Andrew Scheps.
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2LP
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MPLP 305LP
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Gatefold double LP version. One would think that after the Gullvåg Trilogy -- two double and a single album in a mere three years -- the ultra-productive trio Motorpsycho might be in need of a break of sorts... but on the other hand, riding a golden wave like never before in their 30+ year existence, why stop now? The bulk of the album was recorded in France back before the pandemic, but was added to, tweaked and finished in 2020. The initial idea was to collect big riffs on one album and do a pure hard rock record, but the objective changed along the way as they rediscovered their folkish bent and how this lighter touch gave it all a nice contrast. Mixed by Andrew Scheps. Produced by Bent Sæther. Reine Fiske guests on several tracks.
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MPCD 105CD
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One would think that after the Gullvåg Trilogy -- two double and a single album in a mere three years -- the ultra-productive trio Motorpsycho might be in need of a break of sorts... but on the other hand, riding a golden wave like never before in their 30+ year existence, why stop now? The bulk of the album was recorded in France back before the pandemic, but was added to, tweaked and finished in 2020. The initial idea was to collect big riffs on one album and do a pure hard rock record, but the objective changed along the way as they rediscovered their folkish bent and how this lighter touch gave it all a nice contrast. Mixed by Andrew Scheps. Produced by Bent Sæther. Reine Fiske guests on several tracks.
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2LP
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MPLP 305C-LP
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[no stock available] Gatefold double LP version. Limited clear vinyl. One would think that after the Gullvåg Trilogy -- two double and a single album in a mere three years -- the ultra-productive trio Motorpsycho might be in need of a break of sorts... but on the other hand, riding a golden wave like never before in their 30+ year existence, why stop now? The bulk of the album was recorded in France back before the pandemic, but was added to, tweaked and finished in 2020. The initial idea was to collect big riffs on one album and do a pure hard rock record, but the objective changed along the way as they rediscovered their folkish bent and how this lighter touch gave it all a nice contrast. Mixed by Andrew Scheps. Produced by Bent Sæther. Reine Fiske guests on several tracks.
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2LP
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MPLP 304LP
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2022 repress; double LP version. If Motorpsycho's The Crucible (MPCD 103CD/MPLP 303LP, 2019) -- both visually and musically -- started where The Tower (2017) ended, one can argue that The All Is One starts where The Crucible ended and thus finishes the so-called "Gullvåg trilogy". That said, The All Is One is so much more than a sequel, and very much a standalone album in its own right. While The Crucible took the band a step further out than The Tower, the new one explores new frontiers, especially with the dark, brooding landscape of the 42-minute epic centerpiece that is "N.O.X.", possibly the most ambitious piece of music they have recorded. Eight shorter tracks, clocking in between two and ten minutes, make up the rest of the album and bring some balance to the proceedings. Lyrically, The All Is One takes up the threads from the previous albums. While there is no thematic red line as such -- and not being overtly political -- it is difficult for a socially conscious writer like Bent Sæther not to observe and reflect on what goes on in an increasingly unstable world. They have also found strong inspiration and common ground in the paintings of Håkon Gullvåg, the artist responsible for the cover art. The album was recorded in two major sessions, the first took place in Studio Black Box in France with long-time collaborator and guitarist Reine Fiske. Here they mainly focused on material with more or less traditional song structures. The second session was at Ocean Sound Recording in Norway and basically dealt with the long "N.O.X." suite, developed from the commissioned music they wrote for, and performed at, the St. Olav Festival in Trondheim last summer with two of their favorite Norwegian musicians, Lars Horntveth (Jaga Jazzist) and Ola Kvernberg (Steamdome). The whole album was mixed by Andrew Scheps at his Punkerpad studio in the UK. Artistically searching as ever, and in their own way joyously stretching the rock format as out of whack as they can, Motorpsycho neither can nor will align themselves fully to any scene or genre. Traveling their own path in their own tempo, it might take longer to get anywhere, but that is just fine when the journey itself is the whole point. And what a journey it has been; this band is still peaking after more than 30 years in the business.
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MPCD 103CD
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2019 marks 30 years since Motorpsycho's humble beginnings in Trondheim. Both visually and musically, The Crucible starts where The Tower (2017) ended, but it soon takes on its own hue, and it is clear that it cannot be called a "sequel" as such: this is very much a step further out than anywhere the band ventured on The Tower. While it is broader lyrically speaking, it is even sharper focused musically and, if possible, even more idiosyncratic and insular than ever: unarguably a Motorpsycho album. There aren't many traditional song structures or pop format platitudes on display, and there is indeed hardly any respect paid to any trad rock song conventions on the whole album, but that's not really what one listens to Motorpsycho for anyway, is it? From the most Neanderthal of rock riffs to the most rhythmically oblique polytonal solo sections they've ever recorded, this album musically seems to sum up the extremes of the band's current interests and concerns. The Crucible was recorded at Monnow Valley Studios in Wales in August 2018 by Hans Magnus Ryan (guitars, vocals), Bent Sæther (bass, vocals, sundry), and Tomas Järmyr (drums), with co-producers Andrew Scheps and Deathprod. Scheps mixed the band's last two live recordings -- A Boxful of Demons and Roadwork Vol. 5 (MPLP 302LP) -- and in that process, made himself a logical choice to record the next studio album.
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LP
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MPLP 303LP
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LP version. 2019 marks 30 years since Motorpsycho's humble beginnings in Trondheim. Both visually and musically, The Crucible starts where The Tower (2017) ended, but it soon takes on its own hue, and it is clear that it cannot be called a "sequel" as such: this is very much a step further out than anywhere the band ventured on The Tower. While it is broader lyrically speaking, it is even sharper focused musically and, if possible, even more idiosyncratic and insular than ever: unarguably a Motorpsycho album. There aren't many traditional song structures or pop format platitudes on display, and there is indeed hardly any respect paid to any trad rock song conventions on the whole album, but that's not really what one listens to Motorpsycho for anyway, is it? From the most Neanderthal of rock riffs to the most rhythmically oblique polytonal solo sections they've ever recorded, this album musically seems to sum up the extremes of the band's current interests and concerns. The Crucible was recorded at Monnow Valley Studios in Wales in August 2018 by Hans Magnus Ryan (guitars, vocals), Bent Sæther (bass, vocals, sundry), and Tomas Järmyr (drums), with co-producers Andrew Scheps and Deathprod. Scheps mixed the band's last two live recordings -- A Boxful of Demons and Roadwork Vol. 5 (MPLP 302LP) -- and in that process, made himself a logical choice to record the next studio album.
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2LP
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RALP 318LP
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Rune Grammofon presents a reissue of Motorpsycho's Roadwork Vol. 1: Live in Europe 1998, originally released in 1999 and since long out of print. This first volume consists of recordings made on the Motorpsycho Mobile during the Trust Us (1998) tour of Europe that started 6th May 1998. Some 40 hours of live Motorpsycho was captured on tape, and these are the songs the band felt represented the musical content of the tour the best.
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2LP
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RALP 319LP
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Rune Grammofon present a reissue of Motorpsycho's Roadwork Vol. 2: The MotorSourceMassacre , originally released in 2000 and since long out of print. In 1995 Motorpsycho was invited by Trondheim freebag jazz combo The Source to share the stage at Kongsberg Jazz Festival. The band´s psychedelic/kraut/prog-leanings hadn´t taken them as far as jazz yet, not to mention the Ornette Coleman-style free jazz stuff The Source were playing, but they were game. This is the result: some 70 minutes of metal overkill, early '70s crypto-funk, analog synth hell and some pretty free form, out-there escapades. An early example of Norwegian genre-crossing that still sounds surprisingly fresh 23 years later.
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2LP+CD
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RALP 320LP
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Previously only available as part of the Haircuts DVD (2008). Remastered for vinyl by Helge Sten. Recorded at the Paradiso Club in Amsterdam in 2002. The club streamed its own recording of the show at the time but presented here is Motorpsycho's own recordings, meaning properly mixed from 24 audio tracks. The centerpieces of the concert were heavily extended versions of old warhorses such as "Hogwash" and "STG", showing a band more concerned with exploring the furthest reaches of their improvisational abilities rather than trying to recreate the detailed arrangements for string-quartet and pop-group that had dominated their three previous albums. It's worth mentioning that Baard Slagsvold is on keyboards, his fearless approach to improvisation taking the music well into uncharted territories. Double-LP; Comes on 180 gram vinyl; Includes CD.
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3LP+2CD
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MPLP 302LP
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Brand new recordings from Motorpsycho's 2017 European tour. New drummer Tomas Järmyr had only been in the band for three months when The Tower was recorded in March 2017, and it was a re-energized band that spent the following summer learning how to play selections from the vast back catalog and getting ready for the tour ahead. Kristoffer Lo (guitar, keyboards, vocals) was added to the lineup for greater flexibility. This volume follows in the tradition of the others, by focusing on the improvisational and experimental side of the band, taking bigger collective chances than ever before, re-imagining songs, stretching them, turning them inside out, and taking them places they've never been before. Triple-LP; Comes on 180 gram vinyl; Includes two CDs.
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2x10"+CD+DVD
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RLP 2193LP
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This music was written for a project Motorpsycho was invited to be a part of by Trøndelag Teater in 2015. It eventually ended up as the play Begynnelser ("Beginnings"); directed, designed and dramatized by the independent theatre group De Utvalgte based on a new text written by Norwegian author Carl Frode Tiller. It was produced and performed at Trøndelag Teater in Trondheim with a cast drawn mainly from their ensemble. Motorpsycho played live at every performance with a line-up that included "utility psychos" Pål Brekkås or Tos Nieuwenhuizen. The play ran for six weeks in September and October of 2016. Not all of this music was eventually used in the play. The band also wrote a lot more during preparations and rehearsals. It was a long process and most of the music was tweaked in a big way to fit the flow and feel of the play. It was also played live every night, so what you would have heard during the performances would in most instances have sounded very different from this album. But these initial recordings have a certain unity of intent, as well as a sound and a definitive vibe to them that the band feels perhaps represents their input into the project the best. It is what they feel works best as a pure listening experience. The music is not sequenced in the order it was used in the play, and a lot of the music that eventually was played in the performances is missing from this album, so this is perhaps best described as "a version of what it might have been", more than a document of what the soundtrack eventually ended up becoming. One presumes this also probably would explain the title of the album. The titles of the various tracks reflect the band's process. The song names are in many cases inner-band shorthand for associations they gave the composers as they were written, and all of them are additionally graced with a place name taken from the area of Norway that both Hans Magnus Ryan and Bent Sæther of Motorpsycho grew up, and where the play is set. The included DVD contains a documentary and a complete two hour filmed performance of the play -- with English subtitles; DVD is PAL format, region free. So all-in-all, you get a lot of new, original Motorpsycho music.
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6CD BOX
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RACD 114CD
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Angels And Daemons At Play is the fourth installment in the ongoing Motorpsycho luxury box-set reissue program. While almost every Motorpsycho release is, in one way or another, a step forward, backwards, sideways, or most often everything at once, Angels And Daemons At Play, originally released in 1997, is probably their first coming-of-age album. Following on the heels of 1995's more streamlined Blissard (RACD 110CD), AADAP is the typically stubborn response from a band refusing to be categorized. Thus, it is possibly the most varied, and on the whole, most experimental of all their albums. They also had the stubborn idea - as explained in the liner notes - to originally split it into three CDs, even if all the music would have fitted on one. Here, this original idea is continued on the three first discs. Disc 4 includes the Starmelt EP (1997), various outtakes and rarities. One of the golden nuggets here is the very first performance of "Un Chien d´Espace" ever, improvising to Luis Bunuel's surreal short film Un Chién Andalou (1929) at Cinemateket in Oslo in 1996. Only the beginning and end were written, while everything else was up for grabs. Disc 5 and 6 consist of the complete two and a half hour March 14, 1997 concert at Rockefeller in Oslo, recorded by NRK, the Norwegian broadcasting corporation. Never broadcasted in its entirety, and with the original mixes mastered by Helge Sten, this is the best and most complete version one will be able to own. One of the rare and lost treasures is Deathprod's quite epic Komet, which took up almost half an hour at the beginning of this all around killer show. Includes a 24-page booklet with liner notes, song comments and rare photos; three pop-card type prints of Bent, Snah and Gebhardt. Design by Kim Hiorthøy, using elements from the original 3CD set as well as some "remixed" and new stuff.
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2CD
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RCD 2176CD
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The first-ever Motorpsycho anthology, released in conjunction with a 2015 retrospective exhibition at Rockheim, Norway's national museum of pop and rock music, in the band's hometown of Trondheim. For the first anthology since the band's formation in 1989, there are as many possible track selections as there are fans, and the band's selection for Supersonic Scientists: A Young Person's Guide to Motorpsycho will likely incite much discussion. Roughly containing one song from every studio album proper since 1993 as well as a couple of outsiders, this serves as an excellent introduction to newcomers and latecomers, but should also be of great interest to fans. Helge "Deathprod" Sten has remastered all the tracks from the original masters, and the non-chronological order makes for a natural flow and an intriguing trip through the Motorpsycho universe. This might even help shed new light on the music and make those who know these recordings well evaluate them anew, and perhaps even love them more. If that isn't enough, the anthology includes an up-to-date family tree, made official for the first time. All the songs were written, played, recorded, and produced by various Motorpsychos in various combinations with various other people in various studios at various times (see family tree and/or the original releases for details). In addition to the 15 studio albums these songs are selected from, Motorpsycho have released multiple EPs, live albums, and collaborative albums, and done projects that are as important to the band as the albums this music is taken from.
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2LP
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RLP 3176LP
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Gatefold double LP version. The first-ever Motorpsycho anthology, released in conjunction with a 2015 retrospective exhibition at Rockheim, Norway's national museum of pop and rock music, in the band's hometown of Trondheim. For the first anthology since the band's formation in 1989, there are as many possible track selections as there are fans, and the band's selection for Supersonic Scientists: A Young Person's Guide to Motorpsycho will likely incite much discussion. Roughly containing one song from every studio album proper since 1993 as well as a couple of outsiders, this serves as an excellent introduction to newcomers and latecomers, but should also be of great interest to fans. Helge "Deathprod" Sten has remastered all the tracks from the original masters, and the non-chronological order makes for a natural flow and an intriguing trip through the Motorpsycho universe. This might even help shed new light on the music and make those who know these recordings well evaluate them anew, and perhaps even love them more. If that isn't enough, the anthology includes an up-to-date family tree, made official for the first time. All the songs were written, played, recorded, and produced by various Motorpsychos in various combinations with various other people in various studios at various times (see family tree and/or the original releases for details). In addition to the 15 studio albums these songs are selected from, Motorpsycho have released multiple EPs, live albums, and collaborative albums, and done projects that are as important to the band as the albums this music is taken from.
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CD
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RCD 2179CD
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Since meeting in high school in the central Norwegian town of Steinkjer in the early 1990s, Motorpsycho's founding members Magnus "Snah" Ryan and Bent Sæther have embarked on musical progressions over multiple genres, with collaborations, occasional line-up changes, and the development of a global following -- not to mention numerous awards -- cementing their position as Norway's preeminent rock behemoths. Here Be Monsters is the zenith of the Norwegians' motorpsychodelic tendencies, with the emphasis on the blissful and melodic rather than their more hair-raising elements, but maintaining an intensity all its own. Here Be Monsters began as a commission for the centennial jubilee of the Norwegian Museum of Science and Technology in November 2014, and was originally performed with keyboardist Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal, etc.). While Storløkken's commitments meant he had to pass on making an album out of it, Sæther, Ryan, and Kenneth Kapstad (drums) turned it into a full-blown Motorpsycho project. Recorded in 2015 at Trondheim's Nidaros Studio, the album contains five of the trio's own compositions -- the tantalizing piano intro "Sleepwalking" (and its brief reprise, "Sleepwalking Again"); the serene, beautiful "Lacuna/Sunrise" and "Running With Scissors"; the pulsing, pounding "I.M.S."; and the expansive and stunningly scenic 17-minute closer "Big Black Dog." Motorpsycho also felt it was the perfect occasion to record one of their favorite psych nuggets of old; their take on American band H. P. Lovecraft's version of Terry Callier's "Spin, Spin, Spin" adds a slightly sinister vibe to the old folk tune, which offsets and complements the grandiose, cinematic sweep of the trio's own songs. Co-produced, engineered, and mixed by long-time co-conspirator and fellow sonic explorer Thomas Henriksen, Here Be Monsters is Motorpsycho's most hi-fi, headphone-friendly music yet, taking the listener closer to the songs' themes. While the museum version focused lyrically on history and time, this revised version looks at other aspects of life; perhaps not a jubilant celebration of existence, but a personal take on the human condition. It is Motorpsycho taking a long look into the abyss, to drive the darkness out by accepting that it is real and true and a part of us all. "When you look long into the abyss, the abyss also looks into you" --Friedrich Nietzsche, translated from the German by Walter Kaufmann. "Better out than in" --Granny LeBad. "Here be monsters." --Motorpsycho
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LP
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RLP 3179LP
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180-gram LP version. Since meeting in high school in the central Norwegian town of Steinkjer in the early 1990s, Motorpsycho's founding members Magnus "Snah" Ryan and Bent Sæther have embarked on musical progressions over multiple genres, with collaborations, occasional line-up changes, and the development of a global following -- not to mention numerous awards -- cementing their position as Norway's preeminent rock behemoths. Here Be Monsters is the zenith of the Norwegians' motorpsychodelic tendencies, with the emphasis on the blissful and melodic rather than their more hair-raising elements, but maintaining an intensity all its own. Here Be Monsters began as a commission for the centennial jubilee of the Norwegian Museum of Science and Technology in November 2014, and was originally performed with keyboardist Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal, etc.). While Storløkken's commitments meant he had to pass on making an album out of it, Sæther, Ryan, and Kenneth Kapstad (drums) turned it into a full-blown Motorpsycho project. Recorded in 2015 at Trondheim's Nidaros Studio, the album contains five of the trio's own compositions -- the tantalizing piano intro "Sleepwalking" (and its brief reprise, "Sleepwalking Again"); the serene, beautiful "Lacuna/Sunrise" and "Running With Scissors"; the pulsing, pounding "I.M.S."; and the expansive and stunningly scenic 17-minute closer "Big Black Dog." Motorpsycho also felt it was the perfect occasion to record one of their favorite psych nuggets of old; their take on American band H. P. Lovecraft's version of Terry Callier's "Spin, Spin, Spin" adds a slightly sinister vibe to the old folk tune, which offsets and complements the grandiose, cinematic sweep of the trio's own songs. Co-produced, engineered, and mixed by long-time co-conspirator and fellow sonic explorer Thomas Henriksen, Here Be Monsters is Motorpsycho's most hi-fi, headphone-friendly music yet, taking the listener closer to the songs' themes. While the museum version focused lyrically on history and time, this revised version looks at other aspects of life; perhaps not a jubilant celebration of existence, but a personal take on the human condition. It is Motorpsycho taking a long look into the abyss, to drive the darkness out by accepting that it is real and true and a part of us all. "When you look long into the abyss, the abyss also looks into you" --Friedrich Nietzsche, translated from the German by Walter Kaufmann. "Better out than in" --Granny LeBad. "Here be monsters." --Motorpsycho
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LP
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RLP 2088LP
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2016 repress of Motorpsycho's classic 2009 vinyl-only release. Repressed with the full package: die-cut sleeve, inside print, printed inner sleeve, and 24x24" double-sided color fold-out poster. This time on clear vinyl. When originally released in 2009, this went straight into the Norwegian Top 20, quite an achievement for a vinyl-only release. After being re-pressed a couple of times, it's now available after being out of stock since 2010. Seven mostly high-energy rockers recorded by the legendary Steve Albini in his Chicago Electrical Audio studio, bearing the classic hallmarks of great riffs, that driving tractor bass, and some truly inspired guitar work.
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2LP/CD/DVD
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RLP 2170LP
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On July 31st, 2014, Motorpsycho and Ståle Storløkken, together with Kammerkoret Aurum and Sheriffs of Nothingness, performed En Konsert For Folk Flest in the mighty Nidaros Cathedral in the band's hometown of Trondheim as part of Trondheim's biggest cultural festival, Olavsfestdagene (OFD). Luckily, they had the foresight to have it all filmed and recorded, and now this ambitious work is available in a lavish, heavy-duty Stoughton package containing two 180-gram records, one CD, one DVD, and a 24-page LP-size booklet. Documenting an event that most likely will never be repeated, this is a unique album in many ways, one being that all the lyrics, sung by the 24-piece choir, are in Norwegian for the first time in the band's history. The 2014 theme of OFD was "Folk." This is roughly analogous to the English "folk," but the term seems to have a slightly wider connotation in Norway. In Norwegian it can mean "people," in an ethnic sense, as well as "nation," in a cultural sense, and doesn't necessarily carry all the folkloristic connotations that it does in English. The lyrics of Motorpsycho's finished piece focus on the peculiar Norwegian notion of "folk flest." This is a term used by politicians and their ilk to signify "most people." Author and friend Johan Harstad, in addition to writing the prose pieces that were printed in the concert program specifically made for the occasion and included here in the booklet, functioned as a lyrics consultant in the process. Musically, this format also represented quite a few new challenges for the band. Writing for a choir is obviously quite a different task than writing for a hard rock trio, and one that the band hadn't grappled with before. To all involved, it was thus important that the music retained a genuinely Motorpsychodelic feel and did not come off like some choir music pastiche. Storløkken's take on the compositional minutiae of this work is obviously fully his own -- he remains a truly unique writer no matter the context -- but the combination of his and Motorpsycho's musical languages is also quite often a very special and explosive one. The DVD includes the full concert plus a 65-minute documentary. The 24-page LP-size booklet includes the Norwegian lyrics and Johan Harstad's text "Manifest For Folk Flest" with an English translation. One-time pressing of 2000 hand-numbered copies.
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2LP
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RALP 312LP
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Gatefold double LP reissue of Motorpsycho's monumental 1993 second album Demon Box. Still the favorite of many Motorpsycho fans, the iconic Demon Box was also their breakthrough album. It's a testament to their most drastic period of transition: initially a relatively (but not entirely) straight rock band largely met with indifference, it's on this album that "shit definitely falls in place," to quote Tommy Olsson's liner notes. It´s also, notably, the only album in their vast catalog to feature Helge Sten (Deathprod) as a full-time member of the group
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5CD BOX
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RACD 112CD
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Still the favorite of many Motorpsycho fans, the iconic Demon Box was also their breakthrough album. It's a testament to their most drastic period of transition: initially a relatively (but not entirely) straight rock band largely met with indifference, it's on this album that "shit definitely falls in place," to quote Tommy Olsson's liner notes. It´s also, notably, the only album in their vast catalog to feature Helge Sten (Deathprod) as a full-time member of the group. This reissue follows the four-CD box set reissues of Timothy´s Monster (RACD 104CD) and Blissard (RACD 110CD), released with the kind permission and cooperation of Voices of Wonder Records. The double-LP and the five-CD box set both present Demon Box as it appeared on Voices of Wonder's original vinyl release. The original 1993 CD release was confined to a single disc, meaning that a couple of tracks had to be left out -- which makes this is the first ever CD release of the full Demon Box album. The third disc of the five-CD box set also includes the two EPs that followed the album (Mountain EP and Another Ugly EP), plus "Home of the Brave," a live recording previously available on a long-deleted compilation. The fourth CD features various outtakes, live recordings, and other rarities, mostly unreleased until now. The fifth disc is a DVD of a previously uncirculated, one-camera video documentation of a full performance from September 19, 1993, at a club called Vera in Groningen, the Netherlands. Dark, shadowy, chaotic, loud, energetic, and primitive, this is still the best audio-visual recording of a complete show from this period.
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2LP+CD
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RLP 3155LP
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Gatefold double LP version. Includes CD of the album.
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CD
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RCD 2155CD
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One day, in the 25th year of the Motorpsychodelic Union, the forces of D/Numbness were finally vanquished. Once again the intergalactic Four Norsemen of the Rock Avant could fly their veg zeppelin unchallenged across the solar plains, their mission complete and the righteous deed done! For still they held sway, and on this day at least -- somewhere Behind the Sun -- they were triumphant! For their previous album Still Life with Eggplant (RCD 2143CD/RLP 3143LP) they assembled some 20 songs of what Bent Sæther called "other music," simply songs from the last three years that didn't suit the operatic Unicorn behemot, but refused to be ignored. For most of the recording sessions the core trio was augmented by guitarist Reine Fiske. Best known for his work in Swedish psych-combos Dungen and The Amazing, Reine is an old acquaintance of the band, and his recent exploits with Ståle Storløkken's Elephant9 had made the pairing seem like a potentially interesting one for Motorpsycho as well. So well, in fact, that he tagged along for most live shows as well as the recording of the new magnum opus Behind the Sun. With nine tracks clocking in at just over an hour, the album also brings the "Hell, Part 1-3" from Still Life with Eggplant to a conclusion on "Hell, Part 4-6" and the closing track "Hell, Part 7." And as with Still Life with Eggplant, the recording was done in Brygga Studio in their hometown of Trondheim where they had recorded a few of their first albums 20 years ago. Guests this time, in addition to Reine Fiske, is Ole Henrik Moe on viola and saw and Kari Rønnekleiv on violin, both known from their Norwegian Grammy-winning album Ciaccona/3 Persephone Perceptions from 2007. It's safe to say that after 25 years, Motorpsycho has cemented their position as an institution in Norwegian music -- no rock band has even been close to achieving the same status when it comes to long-term quality, credibility, integrity and respect. It's also extremely rare to see bands and artists continue to flourish artistically after such a long time. In fact, we can't think of any.
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RCD 2143CD
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In October of 2012, Motorpsycho entered Brygga Studio in Trondheim for the first time in many, many moons -- this being the studio where they recorded a few of their first albums some 20 years ago -- the vibes were good, and the music happened like it was supposed to. As this was the first time in quite a while that the band recorded stand-alone songs -- as opposed to pieces connected by a concept or a narrative -- it felt quite odd working in this way again, but it was also a refreshing approach that highlighted other aspects of their work that perhaps had been ignored over the last few years. In the end, it still very much felt like Motorpsycho music, albeit with a twist: for three days of the two-week session, the core trio was augmented by guitarist Reine Fiske. Best-known for his work in Swedish psych-combos Dungen and The Amazing, Reine is an old acquaintance of the band, and his recent exploits with Ståle Storløkken's Elephant9 made the pairing seem like a potentially interesting one for Motorpsycho as well. It's always good to have a wild card and someone from the outside to mirror your work, and the fruits of Reine's involvement, as presented on this album, speak for themselves: his finger-picking dexterity on the acoustic guitar provides both "Barleycorn" and the old Love chestnut "August" with a solid organic bed for the musical escapades of the other three, and on "The Afterglow," his tasteful guitar shadings and mellotron work adds immensely to the mood of the song. But it's on "Ratcatcher" that his talents shine the best: he slips right in there, and proceeds to glue Snah's lead guitar and Bent's "lead bass" together in a different way than heard before, adding light and shade and splashes of color to the musical repartee, but never getting in the way or hogging center stage in an unwelcome fashion. It's the work of a musician with huge ears and an uncanny musical insight.
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RLP 3143LP
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