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I agree. I've been thinking the same a lot lately – that besides all the youthful energy, place in time etc (both band and me) that made all those stone cold classic 90s albums so great, was that they also had tons of EPs to fill out with, eh, the "fillers".
Don't get me wrong, I still LOVE Motorpsycho, but they can be a bit uneven. Part of being experimental and seeking band I guess, sometimes you discover crap, but it might be worth the try. Also, not a big fan of prog and technical wankery.
Generally speaking, make shorter albums (and more EPs!).
To make things easy, I'm starting with the Rune G period, an alternative universe where the Rune Grammofon has a evil label boss who won't just release anything. I'll leave all the live albums, as is, but probably release a bunch more. Same with the few 7"s.
Little Lucid Moments
– as is, but the LP version has an extended drone/blissout 20 min version of She left on the sun ship.
Child of the Future – as is
Heavy Metal fruit – as is
The Death Defying Unicorn LP:
A: Out of the Woods
The Hollow Lands
Through the Veil pt 1
B:Through the Veil pt 2
Doldrums
Into The Mystic
Something fishy Tour 10" EP
A: Sculls in Limbo
La Lethe
B: Into the Gyre
Floatsam
Hell 10" EP
A: Hell pt 1-3
B: On a Plate
Hell pt. 7
Behind the Sun 2LP
A: Cloud Walker
The Promise
August
The Magic and the Wonder
B: Hell pt. 4-6
Ghost
C: Ratcatcher
The Afterglow
"secret" untitled drone piece 1 /2 ( as today)Tour 7"
A: Hell pt 7 (live – video version)
B Entropy (7" edit)
The fragments work as it is, a bunch of ok- to ok+ leftovers in excellent packaging.
Here Be Monster 2LP
Gets expanded to include the actual song and Go `round Once.
The Tower LP
A: Intrepid Explorer
In every dream house
The Maypole
B: A pacific sonata
ASEF
Bartok of the Universe EP
A: Bartok of the Universe
Psychozar (3 min edit)
Lux Aterna ( 2:30 min acoustic lo-fi bedroom version)
B: The crucible ( this song now stops after 15 minutes)
The All is One LP
A:Dreams of Fancy
The Downser
NOX2
B: NOX4
The Magpie
For the Tour: The Same old Rock B/W Delusion 7"
Kingdom Of Oblivion LP
This is quite fresh, andI think I quite like it.
Anyway, the perfect version I think would be
At Empires End
The United Debased
Dreamkiller
Waning pt2
Lady May
A wankless Much Shorter Transmutation of the Cosmoctpus Lurker
Kingdom of oblivion
The Waning 10" EP
Collects the instruments, The waning pt 1, the watcher and the the hunt
Good news! Love Mallings work, great artist!
I wonder, and hope, if the new visual direction and the declared ending of the Gullvåg era have any impact on their sound? I get the impression from Bents text that this is something else. Thought not exactly a happy cover, at least it looks very different from all the Gullvåg darkness
Quote:@supernaut Official instapost is @ing Reine, Helge and Andrew Scheps. So guess Andrew is producing this one as well.Produced by Deathprod, mixed by Andrew S perhaps? ( more pandemic, do not travel abroad or anywhere else for that matter-friendly)
Yeah, blissard poster.👠I also have this – folded inside my copy of blissard. 😂
I think the poster for the AADAP tour they used the same pictures as in the AADAP booklet. In Norway at least
Sad to hear this. A very fine man indeed. Responsible for countless musical discoveries, especially important when I was a teen in the 90s. If my memories are not mistaken its through him I first heard motorpsycho, when he interview them and played lighthouse girl show he had on P2 (can't recall the name.). Always long good talks with the band when a new album or EP was out, and always the place to hear a new MP song first.
A true "Hedersmann".
Rest in Peace and with a billion good records!
New single out today, on Spotify at least. the same old rock etc
https://open.spotify.com/track/1fdFBFVVuD3Oqc65IQ5YFp?si=thCgQ8iGQNKojgB2t9Ayqg
You can really hear the Motorpsycho influence in everything from Loe and beyond. Too early too have fully digested Omens, but Lore is still my fave. Where they went from "just-another-stoner-rock-band" to "WOAH THIS IS AMAZING". You need to check them out live as soon as possible, whenever that will be.
Awesome band with a great taste in music:
https://www.revolvermag.com/music/elders-nick-disalvo-5-albums-made-me
Jau:
PÃ¥ berg- og dalbane med Motorpsycho
Enorme ambisjoner. Store øyeblikk. Men Motorpsycho/Håkon Gullvåg-kombinasjonen på Øya reiser spørsmålet: Har bestillingsverk-rocken gått for langt?
I etpar minutter av «The Crucible», når projeksjonen på bakskjermen skjøt voldsom fart inn gjennom Håkon Gullvågs motiver fra «Egypts druknende hær», var det en svimlende artig følelse av å være på prog rock-berg-og-dalbane. Bildet danner som kjent omslaget på Motorpsychos album av året «The Crucible» (en mye tøffere platetittel hadde jo selvsagt vært «Egypts druknende hær»! ) Motorpsychos bestillingsverk med utgangspunkt i billedkunstneren Håkon Gullvågs billedverden ble gjort for årets Olavsfestdagene i Trondheim (der Gullvågs 60årsdag ble markert) og gjentatt som avslutning på Øyafestivalen, for et halvfullt Sirkus lørdag kveld.
Med seg på scenen i dette prosjektet har Motorpsycho Ola Kvernberg og Lars Horntveth, som begge har samarbeidet med Motorpsycho tidligere på forskjellige stadier. Konserten består av en lang, nyskrevet, eh, suite, om du vil, som klokket inn på rundt 40 minutter, samt tittellåtene på bandets siste to album «The Crucible» og «The Tower». Tilsammen danner det en slags Håkon GUllvåg-trilogi, og det er vel greit at de avrunder dette nå.
Etter en time hadde vi vært gjennom to lÃ¥ter, og da ble «The Tower» – 8.41 pÃ¥ plate – konsis i sammenheng.
Den visuelle delen av verket er ved videokunstner og scenograf Boja Bøckman (som bl. a har gjort det vellykkede audiovisuelle uttrykket på Det Norske Teatrets Bowie-forestilling «Lazarus»). Det er et teknisk avansert oppsett med både frontprojeksjon på et dels gjennomsiktig forheng og en bakskjerm som dekker hele sceneveggen. Bent og Snah har notestativer foran seg, så da er det alvor.
I åpningskomposisjonen som muligens heter «The World» avtegner det seg etterhvert et jord-ild-luft-vann-tema, der manipulerte biter av Gullvågs gjenkjennelige grunnelementer beveger seg sirkulært først, så horisontalt innover, så vertikalt nedover. Midtpartiet her var noe av høydepunktet i konserten, der man suste innover et slags øde rykende vulkanisk landskap, post-apokalyptisk eller utenomjordisk. Med «Riders On The Storm»-aktige keyboardklanger fra Lars Horntveth og regnet drønnende utenfor teltet ble det usedvanlig stemning. Og når Ola Kvernbergs fiolin spiller melodilinjen synkront med Bent og Snah slik at hele bandet løfter hverandre, var det absolutt en følelse av å være med på noe spesielt.
Men andre ganger og egentlig i ganske store deler virker det som om Motorpsychos stadig tyngre, mer innfløkte og nesten knortete prog-temaer og de storslåtte Gullvåg-bildene ikke egentlig gjør noe med hverandre, annet enn å være på samme scene til samme tid. At dette er pretensiøst er helt greit, pretensiøst må være lov, Motorpsycho har helt siden starten for 30 år siden pleid store ambisjoner om å koble det visuelle og det musikalske i scenesammenheng. Forhengsprojeksjonen og Ola Kvernbergs deltagelse her bringer tankene i retning «The Death Defying Unicorn», på Operaen og på dobbelt-CD i 2011-2012. Det fremstår fortsatt som Motorpsychos mest vellykkede realisering av sin gesamtkunstwerk-ide, med en tydeligere retning, og en sterkere idemessig substans, enn den ikke helt logiske spleisingen av Gullvåg og Motorpsycho.
Mot slutten av «The Tower» herjet de litt mer med GullvÃ¥gs bilder – og bildet av GullvÃ¥g selv – i raske klipp og drastiske inngrep. Det var nesten litt pønk. Samtidig som det nesten var befriende nÃ¥r de bare spilte «The Tower»-lÃ¥ten noksÃ¥ rett fram og slo av bildene.
De siste årene er kulturhusrocken blitt et etablert fenomen. Stort og fint og dyrt skal det være. Nå er vi på vei inn i bestillingsverk-rocken. Det er en noe bekymringsfull utvikling. Det er fint å stå under tak i høljregnet og se på psykedeliske bilder i bevegelse og høre Motorpsycho riffe i vei, men det føles også litt verdensfjernt, nesten irrelevant. Ellers pleier jeg å like Motorpsycho når de spiller langt. På mange konserter under årets Øya har man hatt lyst til å rope «spæll høgar!», her fikk jeg lyst til å rope «spæll kortar'».
"Prøv dagsavisen i 3 måneder for 1 kr" Okeidå
The reviewer is midly amused 4/6
SPELL HAWKS! SPELL CARDS!
Google translatet for you here :
On the roller coaster with Motorpsycho
Huge ambitions. Great moments. But the Motorpsycho / Håkon Gullvåg combination on the island raises the question: Has the commissioning rock gone too far?
For a few minutes of "The Crucible," when the projection on the back screen shot tremendous speed through Håkon Gullvåg's motifs from "Egypt's drowning army," there was a staggeringly funny feeling of being on the prog rock-and-roller coaster. The picture forms, as you know, the cover of Motorpsycho's album of the year "The Crucible" (a much tougher record title had of course been "Egypt's drowning army"!) Motorpsycho's commissioned work based on the visual artist Håkon Gullvåg's pictorial world was made for this year's Olavsfestagullen in Trondheim Gårvård in Trondheim was marked) and repeated as an end to the Island Festival, for a half-full Circus Saturday night.
With him on stage in this project is Motorpsycho Ola Kvernberg and Lars Horntveth, both of whom have previously collaborated with Motorpsycho at various stages. The concert consists of a long, newly written, eh, suite, if you will, clocking in around 40 minutes, as well as the title tracks on the band's last two albums "The Crucible" and "The Tower". All together, it forms a kind of Håkon GUllvåg trilogy, and it is good that they are rounding it off now.
After an hour, we had gone through two songs, and then "The Tower" – 8.41 on the record – was concise in context.
The visual part of the work is by video artist and scenographer Boja Bøckman (who, among other things, made the successful audio-visual expression of the Norwegian Theater's Bowie performance "Lazarus"). It is a technically advanced layout with both front projection on a partially transparent curtain and a rear screen covering the entire stage wall. Bent and Snah have music stands in front of them, so it's serious.
In the opening composition, which is possibly called "The World", a ground-fire-air-water theme gradually emerges, where manipulated pieces of Gullvåg's recognizable basic elements move circularly first, then horizontally inwards, then vertically downwards. The centerpiece here was one of the highlights of the concert, where a kind of desolate volcanic landscape, post-apocalyptic or extraterrestrial, rushed in. With "Riders On The Storm" -like keyboard sounds from Lars Horntveth and raining droning outside the tent, the atmosphere became extraordinary. And when Ola Kvernberg's violin plays the melody line synchronously with Bent and Snah so that the whole band lifts each other, it was definitely a feeling to be in something special.
But at other times, and really in large parts, Motorpsycho's ever-heavier, more intricate and almost clumsy prog themes and the magnificent Gullvåg images seem to really do nothing about each other, other than being on the same scene at the same time. The fact that this is pretentious is perfectly fine, pretentious must be law, Motorpsycho has since the beginning 30 years ago advocated great ambitions to connect the visual and musical in stage context. The curtain projection and Ola Kvernberg's participation here bring the thoughts in the direction of "The Death Defying Unicorn", at the Opera and on double CD in 2011-2012. It still appears as Motorpsycho's most successful realization of its Gesamtkunstwerk idea, with a clearer direction, and a stronger conceptual substance, than the not quite logical splitting of Gullvåg and Motorpsycho.
Towards the end of "The Tower" they raged a bit more with Gullv̴g's pictures Рand the picture of Gullv̴g himself Рin quick cuts and drastic interventions. It was almost a bit punk. At the same time, it was almost liberating when they just played "The Tower" song straight ahead and turned off the pictures.
In recent years, the cultural house rock has become an established phenomenon. Big and nice and expensive it should be. Now we are on our way into the ordering rock. It is a somewhat worrying development. It's nice to stand under the torrential rain and look at moving psychedelic images and hear Motorpsycho riff in the way, but it also feels a bit remote, almost irrelevant. Otherwise, I tend to like Motorpsycho when playing far. Many concerts during this year's Island have wanted to shout "spell hawks!", Here I wanted to shout "spell cards".
I don`t think it has been repressed, but there is bootleg pressings of it
https://www.discogs.com/Motorpsycho-Lobotomizer/release/7164539
https://www.discogs.com/Motorpsycho-Lobotomizer/release/7249997
If its the original, than 17,50 is absolutley a bargin, and you should GO FOR IT!
After a few more spins Im getting more and more lukewarm to The Crucible. They could easily sing about hobbits on this one. To me it seems kinda formulatic, with to much focus on technicality and less on space, soul and goosebumps perhaps? Will hopefully grow on me. The Crucible the song mos def has potential. Ok. Just finished it again, it is is rather good.. especially after listen to it loud with headphones. Side A not so much. Imo its down there with most of the unicorn and half of the Tower.
