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Norwegian outfit MOTORPSYCHO was formed in Trondheim in 1989, initially consisting of Bent Saether (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 Haakon 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
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MOTORPSYCHO albums / top albums

MOTORPSYCHO Lobotomizer album cover 3.65 | 5 ratings
Stoner Metal 1991
MOTORPSYCHO Demon Box album cover 3.71 | 3 ratings
Demon Box
Metal Related 1993
MOTORPSYCHO Timothy's Monster album cover 3.14 | 3 ratings
Timothy's Monster
Non-Metal 1994
MOTORPSYCHO Blissard album cover 3.58 | 2 ratings
Non-Metal 1996
MOTORPSYCHO Angels and Daemons at Play album cover 3.58 | 2 ratings
Angels and Daemons at Play
Non-Metal 1997
MOTORPSYCHO Trust Us album cover 4.31 | 4 ratings
Trust Us
Non-Metal 1998
MOTORPSYCHO Let Them Eat Cake album cover 3.50 | 1 ratings
Let Them Eat Cake
Non-Metal 2000
MOTORPSYCHO Phanerothyme album cover 4.00 | 1 ratings
Non-Metal 2001
MOTORPSYCHO Barracuda album cover 4.50 | 1 ratings
Non-Metal 2001
MOTORPSYCHO It's a Love Cult album cover 4.00 | 1 ratings
It's a Love Cult
Non-Metal 2002
MOTORPSYCHO Black Hole / Blank Canvas album cover 4.00 | 1 ratings
Black Hole / Blank Canvas
Non-Metal 2006
MOTORPSYCHO Little Lucid Moments album cover 3.50 | 1 ratings
Little Lucid Moments
Non-Metal 2008
MOTORPSYCHO Child of the Future album cover 3.50 | 1 ratings
Child of the Future
Non-Metal 2009
MOTORPSYCHO Heavy Metal Fruit album cover 4.17 | 3 ratings
Heavy Metal Fruit
Non-Metal 2010
MOTORPSYCHO The Death Defying Unicorn album cover 4.74 | 7 ratings
The Death Defying Unicorn
Non-Metal 2012
MOTORPSYCHO Still Life With Eggplant album cover 3.71 | 4 ratings
Still Life With Eggplant
Non-Metal 2013
MOTORPSYCHO Behind The Sun album cover 3.53 | 6 ratings
Behind The Sun
Non-Metal 2014
MOTORPSYCHO Here Be Monsters album cover 3.83 | 3 ratings
Here Be Monsters
Non-Metal 2016
MOTORPSYCHO The Tower album cover 3.00 | 4 ratings
The Tower
Non-Metal 2017
MOTORPSYCHO Begynnelser album cover 0.00 | 0 ratings
Non-Metal 2017
MOTORPSYCHO The Crucible album cover 3.00 | 1 ratings
The Crucible
Non-Metal 2019
MOTORPSYCHO The All is One album cover 4.08 | 2 ratings
The All is One
Non-Metal 2020


MOTORPSYCHO Soothe album cover 3.08 | 2 ratings
Hard Rock 1992
MOTORPSYCHO 3 Songs for Rut album cover 3.00 | 1 ratings
3 Songs for Rut
Non-Metal 1992
MOTORPSYCHO Into The Sun / Surprise album cover 0.00 | 0 ratings
Into The Sun / Surprise
Non-Metal 1993
MOTORPSYCHO Mountain EP album cover 4.50 | 1 ratings
Mountain EP
Alternative Metal 1993
MOTORPSYCHO Another Ugly EP album cover 0.00 | 0 ratings
Another Ugly EP
Non-Metal 1994
MOTORPSYCHO Wearing Yr Smell album cover 0.00 | 0 ratings
Wearing Yr Smell
Non-Metal 1994
MOTORPSYCHO Mad Sun / Nobody Likes Me album cover 0.00 | 0 ratings
Mad Sun / Nobody Likes Me
Non-Metal 1996
MOTORPSYCHO The Nerve Tattoo album cover 0.00 | 0 ratings
The Nerve Tattoo
Non-Metal 1996
MOTORPSYCHO Manmower album cover 0.00 | 0 ratings
Non-Metal 1996
MOTORPSYCHO Mot Riving album cover 0.00 | 0 ratings
Mot Riving
Non-Metal 1997
MOTORPSYCHO Baby Scooter album cover 0.00 | 0 ratings
Baby Scooter
Non-Metal 1997
MOTORPSYCHO Have Spacesuit Will Travel album cover 0.00 | 0 ratings
Have Spacesuit Will Travel
Non-Metal 1997
MOTORPSYCHO Lovelight album cover 0.00 | 0 ratings
Non-Metal 1997
MOTORPSYCHO Starmelt album cover 0.00 | 0 ratings
Non-Metal 1997
MOTORPSYCHO [Ozone] album cover 0.00 | 0 ratings
Non-Metal 1998
MOTORPSYCHO Hey, Jane album cover 0.00 | 0 ratings
Hey, Jane
Non-Metal 1998
MOTORPSYCHO Walkin' With J album cover 0.00 | 0 ratings
Walkin' With J
Non-Metal 1999
MOTORPSYCHO The Other Fool album cover 0.00 | 0 ratings
The Other Fool
Non-Metal 2000
MOTORPSYCHO Serpentine album cover 0.00 | 0 ratings
Non-Metal 2002
MOTORPSYCHO Go To California / Black To Comm / Broken Imaginary Time / Galaxy Gramophone album cover 0.00 | 0 ratings
Go To California / Black To Comm / Broken Imaginary Time / Galaxy Gramophone
Non-Metal 2002
MOTORPSYCHO Motorpsycho + Jaga Jazzist Horns: In the Fishtank 10 album cover 5.00 | 1 ratings
Motorpsycho + Jaga Jazzist Horns: In the Fishtank 10
Non-Metal 2003

MOTORPSYCHO live albums

MOTORPSYCHO Roadwork Vol.1: Heavy Metall Iz a Poze album cover 0.00 | 0 ratings
Roadwork Vol.1: Heavy Metall Iz a Poze
Non-Metal 1999
MOTORPSYCHO Roadwork Vol.2: The MotorSourceMassacre album cover 0.00 | 0 ratings
Roadwork Vol.2: The MotorSourceMassacre
Non-Metal 2000
MOTORPSYCHO Roadwork Vol.4: Intrepid Skronk album cover 0.00 | 0 ratings
Roadwork Vol.4: Intrepid Skronk
Non-Metal 2011
MOTORPSYCHO Strings of Stroop: Live at Effenaar album cover 0.00 | 0 ratings
Strings of Stroop: Live at Effenaar
Non-Metal 2011
MOTORPSYCHO Motorpsycho And Ståle Storløkken: En Konsert For Folk Flest album cover 0.00 | 0 ratings
Motorpsycho And Ståle Storløkken: En Konsert For Folk Flest
Non-Metal 2015

MOTORPSYCHO demos, promos, fans club and other releases (no bootlegs)

MOTORPSYCHO Maiden Voyage album cover 2.50 | 1 ratings
Maiden Voyage
Non-Metal 1990
MOTORPSYCHO Leave It Like That album cover 0.00 | 0 ratings
Leave It Like That
Non-Metal 1994
MOTORPSYCHO Go To California album cover 0.00 | 0 ratings
Go To California
Non-Metal 2001
MOTORPSYCHO The Slow Phaseout album cover 0.00 | 0 ratings
The Slow Phaseout
Non-Metal 2001

MOTORPSYCHO re-issues & compilations

MOTORPSYCHO 8 Soothing Songs for Rut album cover 3.00 | 1 ratings
8 Soothing Songs for Rut
Non-Metal 1992

MOTORPSYCHO singles (3)

.. Album Cover
5.00 | 1 ratings
Sinful, Wind-Borne
Non-Metal 1997
.. Album Cover
4.50 | 1 ratings
X-3 (Knuckleheads In Space)
Non-Metal 2010
.. Album Cover
0.00 | 0 ratings
The Visitant
Non-Metal 2010

MOTORPSYCHO movies (DVD, Blu-Ray or VHS)

.. Album Cover
0.00 | 0 ratings
This Is Motorpsycho
Non-Metal 1995
.. Album Cover
0.00 | 0 ratings
Non-Metal 2008



Album · 2017 · Non-Metal
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In 2017 Motorpsycho released The Tower, a double-album that was to become the first instalment in their so called “Gullvåg Trilogy” of albums inspired by the art of painter Hakon Gullvåg, whose work graces the cover of The Tower as well as the subsequent two albums (2019’s The Crucible and 2020’s The All Is One). On this album bass player / vocalist Bent Sæther and guitarist Hans Magnus "Snah" Ryan pair with a new drummer, Tomas Järmyr, who replaces Kenneth Kapstad after a 9-year stint with the band. The album also marks an evolution in the sound of the Norwegian veterans, which veers more decidedly towards heavy rock territories, bringing back some of the influences that had coloured Motorpsycho’s early albums (Hawkwind, Black Sabbath, a touch of King Crimson).

It’s a fun album, filled with groovy bass or guitar patterns that interlock to provide a solid basis for extended instrumental buildups and spontaneous jams. It’s what Motorpsycho are renowned for and indeed it is music that at its best can be transcendental, as the listener is entranced and engrossed by the dazzling playing of the three musicians. There are plenty of moments when this happens on the album, as for instance on the beautiful guitar solo that kicks in five minutes in “A Pacific Sonata”, or in the lengthy trippy affair that goes under the name of “Intrepid Explorer”. Elsewhere, more pastoral and whimsical 70s rock influences emerge from the musical cauldron of The Tower, as in the very CSYN-esque “Stardust” or on “The Maypole”. Meanwhile, the infectious combination of guitar riffs and flute melodies on “In Every Dream Home” is the most exquisitely prog moment of the album, bringing to mind the work of early Canterbury bands like Caravan.

For as much as I enjoy a free-spirited, psychedelic jam-fest, it is actually the more restrained songs like “In Every Dream Home” that Motorpsycho truly captivate me. I love the way this track strikes a perfect balance between instrumental virtuosity and structure. It gives the song a more definite identity which helps me keep my attention focused much better than on other, more free-form tracks on this album. Alas, there are not many moments on the album when this happens, which is why this record remains a bit of an acquired taste for me, and to it I prefer the other two instalments of the trilogy, The Crucible and especially The All Is One, which are less jam-oriented and more structured.

Nevertheless. The Tower remains an impressive album by the Norwegian trio that marks in great style the beginning of a new era for the band, with a new drummer and a renewed love for their heavy psychedelic rock origins. Although this may not be the most revolutionary or path breaking music to play in 2017, the songs still feel fresh and non-derivative. Most importantly, it is clear from listening to the album that the band had a lot of fun writing and playing the music, and the feeling is simply infectious.

[Review also posted on]


Album · 2019 · Non-Metal
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Released in 2019, The Crucible is the second instalment in Motorpsycho’s “Gullvåg trilogy” of albums inspired by the art of painter Håkon Gullvåg, which the band started in 2017 with The Tower and will conclude in 2020 with The All Is One. While exploring similar lyrical themes (living in a polarized society) and moving in similar musical spaces (psychedelic-infused heavy prog), The Crucible stands out relative to the other two parts of the trilogy, in a number of ways.

First, clocking at about 40 minutes, it is by far the shortest album in the trilogy (both The Tower and The All Is One are double-albums that surpass the 80-minute mark). It contains only three tracks, albeit two of them (Lux Aeterna and the title-track) are nearly 11 and 21 minute long, respectively.

Second, it is certainly the heaviest record in the trio of albums. The stoner/doom/heavy prog influences (Black Sabbath above all) that characterized Motorpsycho’s earlier records come back in a very prominent way on this album. This is different from The Tower and, especially The All Is One, which are instead proggier and more rock-oriented. This is not to say that The Crucible is lacking in prog credentials. On the contrary, the angular, fuzz-drenched instrumental acrobatics one can find on “Lux Aeterna” and “The Crucible” (the track) are reminiscent of the furious and fearless experimentation of early King Crimson. The interplay between reeds and guitars on “Lux Aeterna”, for instance, is a particularly striking Crimsonian moment. The pervasive use of the mellotron is another element that brings to mind Robert Fripp’s band. Elsewhere, the vocal harmonies conjured up by Bent Sæther and Hans Magnus Ryan remind us of Jon Anderson (listen for example to when the vocals kick in on the title-track). More generally, Yes’s musical exuberance is another reference point for Motorpsycho’s music. Yet, all these classic prog references are reinterpreted through a heavily metallic lens as well as with a distinct modern approach (Stian Westerhus comes to mind when one listens to the guitar-noise experiments on the title-track), which helps keep things fresh, contemporaneous and non-derivative.

The three tracks are well-balanced between vocal-driven parts and instrumental sections where the band loosens up and engages in long detours that have an improv flavor. There is nevertheless a sense of structure and discipline in the way these tracks are constructed, which makes them easy to assimilate and help the listener to remain focused throughout a song. This is particularly true on the two shorter pieces, “Psychotzar” and “Lux Aeterna”, while the title-track is slightly more meandering and I think it may have benefitted from some fat trimming. Regardless of your level of endurance with lengthy instrumental acrobatics, the level of playing is dazzlingly good throughout the album.

Overall, The Crucible offers an enjoyable musical ride, especially if one is a fan of extended heavy psychedelic jams, which the album offers aplenty. Often this type of composition approach relies on that special spark to light up and infuse the music with magic. And while there are moments on the album where this is certainly the case, and the listener is left engrossed by the experience, elsewhere the approach feels a bit more earthbound and tiresome, which is why I cannot give this album more than three stars.

[Originally posted on]


Album · 2020 · Non-Metal
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Motorpsycho’s new album, The All Is One, concludes the so called “Gullvåg trilogy” of albums inspired by the art of painter Håkon Gullvåg that the band started in 2017 with The Tower and continued with 2019’s The Crucible. Sporting on its cover another beautiful Gullvåg’s painting, The All Is One might just be the best progressive rock album released in 2020. Whether you agree with this statement or not, one thing is for certain: it is simply amazing how, after 30 years of career and more than 20 full-length albums, these three Norwegians are still able to create music that feels fresh and innovative and is of such a high quality. This is truly a testament to their creativity and ability as musicians that I have a deep respect for.

So what makes The All Is One so good, you ask? Two things stand out for me: how deliciously varied its 9 compositions are, and how they are perfectly balanced between creative discipline and looseness. These characteristics put the record at the top of the trio of albums that form the Gullvåg trilogy, in my opinion. The songs on this album have the same playful, proggy exploratory spirit of The Tower, but with the structure and discipline that one can find on The Crucible, giving us the best of both worlds.

There are three types of songs on The All Is One, reflecting three distinct phases in the recording process. A first bulk of songs were recorded in September 2019 at the Black Box Studio in France. These recording sessions see the Motorpsycho trio (Bent Sæther - lead vocals, bass, guitar; Hans Magnus Ryan - lead guitar, vocals; Tomas Järmyr - drums) join forces with long-time collaborator guitarist Reine Fiske (Landberk, Paatos). The songs that came out from these sessions are of medium length (between 5 and 8 minutes), follow a somewhat traditional structure and are fairly vocal-driven, without too many extended instrumental jams or detours, making them relatively easy to assimilate. Nevertheless, the music has a strong classic prog flavour, somewhat reminiscent of the US modern school of progressive rock (bands like Echolyn, but also Spock’s Beard and Neal Morse come to mind). Classic acts like Yes and King Crimson are also obvious influences, but they are re-interpreted through a modern lens that avoids the music sounding derivative. Among these tracks, the title-track and “The Magpie” stand out, containing some of the best and most memorable hooks of the album. “Dreams of Fancy” is also notable, with its classic rock feel (Led Zeppelin come to mind). “The Same Old Rock” and “Like Chrome” are instead perhaps a tad less inspired and come across a bit as run-of-the-mill prog.

Then we have the 42-minute suite “N.O.X”. This piece, recorded in November 2019 at the Oceans Sound studio in Norway, was originally written as performance music that Motorpsycho were commissioned to play at 2019 St. Olav Festival as part of its celebration of the art of Håkon Gullvåg. The suite was composed with the help of two other instrumentalists, Lars Horntveth of Jaga Jazzist (saxophones and clarinet) and Ola Kvernberg of Steamdome (violin). It is an amazing piece of music, and my personal highlight from the album. It comes in 5 separate parts (each a separate track on the album) that are interconnected and tied together by recurring motifs and common rhythm patterns. The music has a strong experimental and avant-garde feel, and encompasses a range of different styles, from krautrock and space rock (Hawkwind), to classic prog, to Canterbury prog (Caravan come to mind on the opening bars of “Circles Around the Sun pt I”), to psychedelia. The suite has everything one would ask for from a prog masterpiece: it is complex and shapeshifting while never losing focus or tension, it is filled with sublime arrangements and exceptional playing, it is groovy like hell (listen to “Ouroboros”) and it has strong dynamics, moving between hard-hitting, almost punkish pieces (“Circles Around the Sun pt II”) and dreamy, reverb-drenched meditative moments (the Pink Floydian “Ascension”). Vocals appear sparsely throughout the suite, and are often processed and used more as an additional complementary instrument than as lead instrument. Drummer Tomas Järmyr puts in a monstrous performance on this piece, but the playing of everyone involved is truly dazzling and a joy to listen to. What impressed me the most, though, is the sense of structure and discipline that transpires from the music. Motorpsycho have often indulged in extended instrumental jams on previous albums. While captivating and engrossing, I often found these jamming pieces a bit too loose, structureless and repetitive, which made it difficult to continuously retain my attention. “N.O.X” is incredibly tight and well-organized, each part flowing naturally - almost necessarily - into the next one, in a way that brings to mind classical music more than jazz or psychedelic improvs. This perfect balance between discipline and looseness is what makes “N.O.X”, and the album in general, such a fantastic piece of music for me.

Finally, the album contains three shorter songs, recorded at various times between 2018 and 2019 in Trondheim (Norway). These are acoustic pieces for guitar and voice (and synths sometimes) that are strategically placed on the album to separate the “N.O.X” suite from the other tracks. I am particularly fond of “Delusion”, a beautiful, delicate piece that reminds me of the more pastoral moments of early King Crimson. “A Little Light” is also endearing, with its simple guitar line, especially after the musical mayhem of the closing parts of “N.O.X”.

Overall, the alternation between acoustic pieces, more regular prog rock songs, and the tour-de-force of “N.O.X” gives the album a sense of progression and moving-forward that is truly captivating and naturally invites the repeated listens that are necessary to properly assimilate the sheer amount of creativity that is contained in the 80+ minutes of music on this double-album. Nevertheless, The All Is One is also a record that is very easy to instantly like as it contains enough hooks and moments of brilliance to entrance the listener on the first run. It is also notable that the doom/stoner/heavy prog influences (e.g., Black Sabbath) that Motorpsycho are known for are not so strong on this album. Overall, there is more prog and less fuzz on The All Is One, which may make it an even more palatable release for the prog community.

In short, The All Is One is an amazing piece of work. It contains some of the proggiest and most inventive pieces of music Motorpsycho have come up with in a long time. The experimental, largely instrumental suite “N.O.X.”, alone, would have made for an incredible album, but perhaps it stands out even more with the addition of the other acoustic and more standard vocal-driven tracks to balance the record. Despite some less inspired moment (“The Sme Old Rock”, “The Dowser”, “Like Chrome”), it is without doubt one of the best progressive rock albums I have listened to this year and it is highly recommended to anyone with an interest in prog.

[Originally posted on]


Album · 1991 · Stoner Metal
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siLLy puPPy
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.


Album · 1998 · Non-Metal
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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.

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