A PROFILE OF MOTORPSYCHO:

Major Players in Europe
Rock's Best Kept Secret in the U.S.

By Nick Bensen

Photo - L-R: Håkon Gebhardt, Bent Sæther, "Snah" Ryan. (c) Felix Gebhard.

Get ready to hear the combined power of King Crimson, Metallica, Pavement, Sonic Youth, Soundgarden, Sun Ra and Neil Young all filtered through the scope of one highly original band. From the medium-sized coastal city of Trondheim in West-Central Norway comes one of rock music's most accomplished and visionary groups, Motorpsycho. This prolific band's recorded output is lofty, heroic stuff with the spirit of Viking sagas, executed with the painstaking care of stoic masters. Bass player/lead singer Bent Sæther, guitarist/singer Hans Magnus "Snah" Ryan and drummer Håkon Gebhardt have developed an expressive vocabulary of musical conversation and they are not afraid to pick up a violin, banjo or mandolin when the mood calls for it. Motorpsycho's lyrics are sung in accentless English with a few European inflections and turns of phrase, which add to the overall charm. Ryan's mellow baritone voice, featured on "Greener" from Blissard (1996) and "Sideway Spiral I" from Angels And Daemons At Play (1997), is a perfect complement to Sæther's highly emotional, endearingly raspy melodic lead vocal lines. Motorpsycho is well respected by the European music press and 1993's Demon Box was nominated for a Norwegian Grammy.

The renowned ponderous giants of rock's early 1970s progressive hay day (such as Peter Gabriel-era Genesis, Led Zeppelin, Pink Floyd and Yes) each mustered a dozen or so extended epics over the course of long careers. Motorpsycho's epic tally is up in the thirties although they still have many good years ahead of them. Long progressive/ psychedelic numbers like "Mountain" and the ultra heavy Jefferson Airplane cover "The House At Pooneil Corners" from Mountain ep (1993), "GiftLand" and "The Wheel" from Timothy's Monster (1994), "S.T.G." from Blissard, "Un Chien d'Espace" from Angels And Daemons At Play, and "Vortex Surfer" and "Radiance Freq." from Trust Us (1998) are all quite impressive in their own right yet they don't reveal the full range of the band's ideas.

The balance of Motorpsycho's sound consists of gentle acoustic ballads, cool jazz/pop, catchy alternative rockers, noise-metal nightmares, and Gebhardt's forays into refracted music hall and warped traditional folk. There are also plenty of fine straight-ahead rock moments. "Flick Of The Wrist" from Starmelt ep (1997) could be vintage electric CSNY, "Motorhead Mama" from Another Ugly ep (1994) out-Lemmys the wild man himself, and "The Other Other Fool" from Roadwork vol. 1 (1999) stomps along on a booming power-trio groove. The band's inspired cover choices include "California Dreamin'" (The Mamas & The Papas), "New Day Rising" (Hüsker Dü), "Up Our Sleeves" (Humble Pie), "Watching You" (Kiss), "Working For MCA" (Lynyrd Skynyrd), and "Young Man Blues" (Mose Allison/The Who). In 1994, Motorpsycho even released a limited edition country album called The Tussler.

From the grunge metal explosions of their 1991 debut Lobotomizer (with Kjell Runar "Killer" Jensen on drums) through the experimental sound collages on parts of Demon Box and Blissard (in collaboration with Helge "Deathprod" Sten) to the sophisticated sheen of the recent album Let Them Eat Cake (given even more texture by the keyboards and horn/string arrangements of Baard Slagsvold), the members of Motorpsycho have always prided themselves on their high levels of musicianship, flexibility and creativity. Although they played a well-received showcase at last year's South by Southwest conference in Austin, TX, the band has not toured the U.S. They would like to play here when the time is right but they are kept extremely busy touring for their legions of devoted European fans.

Motorpsycho has made a career of doing things their own way. Since 1994, their albums have been released on the indie label Stickman, a small Hamburg company run by trusted friends Jeannette and Rolf Gustavus, and mostly devoted to the band's catalog. Stickman was voted Best Record Label of the 1990s in a Norwegian poll. During my interview with him, Bent Sæther explained the band's reasons for choosing to work with an independent label rather than a major. "The music business isn't there to help you. It's there to take your money," Sæther told me. "…Fame is basically a hassle and has no value whatsoever if it's not on your own terms. Anyone can be a whore - there's no art to that - and being famous for it ain't too much to be proud of."

Motorpsycho's Stickman releases can be ordered over the Internet at stickman-records.de (although a few of the limited edition titles are available only on vinyl at this point). Much of the pre-Timothy's Monster material can be obtained through CDZone.co.uk. Some of the recent stuff occasionally turns up used at Amoeba. This is music worth seeking out. For a complete transcript of my exclusive interview with Bent Sæther and an annotated discography/career overview, go to FreeCityMedia.com. You can also check out the band's unofficial but endorsed web site at Motorpsycho.fix.no.

Profile © 2000 Free City Media (also printed in Bay Arts & Music Magazine October 2000, Vol 1, No 5)

A rare single version of Motorpsycho's "Go To California" can be found on Free City's compilation The International League of Telepathic Explorers.

MOTORPSYCHO'S BENT SÆTHER INTERVIEWED BY FREE CITY MEDIA'S NICK BENSEN

Via e-mail July 14, 2000

NICK BENSEN: Hi Bent (and Snah and Gebhardt). My name is Nick Bensen and I'm a San Francisco, CA-based psychedelic musician and rock journalist. I have Norwegian origins (my family name was Bentsen until U.S. immigration officials dropped the t to make it sound English when my great-grandfather came to the New York a hundred years ago) but I have never had the chance to visit the homeland. I am a huge fan of your work. I have approval to do a profile of Motorpsycho in Bay Arts and Music, a free regional magazine distributed throughout the urban areas of Northern California. I also plan to do a more in-depth feature article for Free City Media, the on-line music magazine and record label that I founded with my wife Heidi. Our site has previously done major pieces on the San Francisco power-pop band Red Planet and London's Woronzow Records (run by Nick Saloman and Adrian Shaw of The Bevis Frond). Our mission is to spread the word about outstanding psychedelic music.

BENT SÆTHER: Hi, Nick - Thanks for your interest. I'll try to answer your Q's, and hope I make sense...

NB: Aside from your exceptional melodic sense and stylistic range, there is a seriousness and strong work ethic evident in your music. Many psychedelic and alternative bands have a loose, sloppy "it's all good so let's just see what happens" approach while your music is clearly disciplined and carefully thought out. I get the feeling that you apply the kind of standards to your arrangements and recordings that an old-time master craftsman would use in building a house or carving a piece of fine furniture. Do you feel that your stoic perfectionism is a northern cultural trait passed down to you or do you just happen to be personally obsessive?

BS: Whenever people ask us about psychedelic music, its relationship to drugs and that whole "taking drugs to make music to take drugs to"-cliché, there's only one answer that applies to our music: obviously you have to know what kind of mental mood you want to evoke, but to actually be able to recreate something like that in music you have to be completely straight. It might be a paradox, but it takes a lot of concentration and musical discipline to even begin to sound psychedelic if you want to communicate and not just jerk off. My problem with a lot of these so-called psychedelic bands is that they haven't understood the difference between being on a trip and sounding like one. Let's face it: the drug thing is an ego thing, good music isn't. I wouldn't know if this attitude is a cultural trait in us Scandinavians or whatever - I guess it's more about taking the music seriously, and giving it as much as you take out... Obviously, if you're not obsessive about these things, you don't take them seriously enough or give them the respect they deserve.

NB: Everyone I know who has heard your music agrees that, although there is a distinctive Motorpsycho sound, each album has a wildly different vibe (from the metallic power of Lobotomizer to the mellow jazz/blues feel of Let Them Eat Cake). Do you set out to do something intentionally different each time? Is the development just the organic result of playing together so much?

BS: Basically the three of us write songs until we "fill the hard disc" and have to empty ourselves to write more songs. Since we see each other up to 6 days a week, our musical instincts/needs/visions are pretty much in synch, and sometimes we can define the vibe and decide that "this album should be an x record" or whatever. Most of the time this happens in retrospect, though it's not until you have to do press that you start talking about what you have done, and realize that "oh, we've made an x album!" Funny, this. Our promotion tours feel like group therapy sessions! Another thing that very much applies to this is that having done ten albums we've covered a lot of ground - stylistically - and don't have the urge to do the same things as we used to. We seem to have these periodic urges to do a certain style of music until we can't do anything more or better in that context and find new avenues to explore. Commercially this is shooting ourselves in the foot (eh, feet?) but to keep the music fresh, important and hopefully good, this is vital. We are definitely not one of those AC/DC type bands that can do this one thing well forever: I know I couldn't have made, say the Demon Box today. That was what we were then; now we're some one/-where else and have other needs.

NB: 1993's Demon Box is, for me, the Motorpsycho album that shows the most direct tension between styles - the bright folk of "Waiting For The One", the rage of "Feedtime" and "Sheer Profoundity", the psychedelia of "Tuesday Morning" and "All Is Loneliness", the evil crunch of the title epic, the creepy serial killer feeling of "Step Inside Again" and "Plan #1" (especially Matt Burt's lurid imagery in the narration), the noisy but joyful rock of "Nothing To Say" and "The One That Went Away", and the Hüsker Dü influence on "Babylon" and (to a lesser degree) "Sunchild". The album is a sprawling masterpiece and was a great leap forward from your previous output. What was the band's mindset at the time of recording Demon Box?

BS: D.B. was the first time we dared to pull out all the stops, and just do what we needed to. A lot of it had to do with self-confidence and attitude: "No, we're not just that; we're this and this and that too! and if you expect heavy, you'll get mellow. If you need us to be this one defined musical thing, we refuse!" I guess we saw that we weren't mad at the world all the time or in love all the time and needed to show this in the music. We wanted - and I can't really say this without sounding pretentious - to show the whole human experience, not just one defined part of it like everyone else seemed content to. We were young, ambitious, and I sometimes think we pulled it off… In some ways the scope and ambition of Timothy's Monster was even bigger, but if it managed to capture that zeitgeist-thing that D.B. had, I'm not sure of. In retrospect T.M. sits better with me, but that's a matter of taste, I guess.

NB: "She Used To Be A Twin" from Another Ugly ep is one of my favorite Motorpsycho songs. What's the story behind that song - was it based on people you knew or were they characters you made up?

BS: The title was something we got from a Dutch friend of ours. We stayed at his place on an off day on the D.B. tour, and across the street an extremely obese kid was playing. We were talking about this poor kid when he observed, the wiseass that he is, that "she used to be a twin, you know, but then one day..." and then he made this sucking sound to indicate how she'd melted together into one... It's kinda gross and cruel, but the words stuck in my mind and I took it somewhere totally different when I wrote the lyric. The people were made up, but the story feels - and could've been - true. I'm sorry if this ruins your relationship to the song, and I don't like to explain or discuss the words.

NB: On the contrary, I'm even more impressed that such a moving and vivid story song resulted from a weird random joke.

BS: People should make up their own minds and decide for themselves what the songs mean. That way they mean more to them, and as often as not, I don't have the best or final interpretation.

NB: I've never visited Trondheim and it's not really a large enough city for Americans to have a ready stereotype or general sense of it. Could you describe what it's like to live there?

BS: Trondheim has approx. 150,000 residents, is the 4th largest city in Norway, lies a 7 hours drive north of Oslo, has been a town since 998 A.D., has one of 4 universities in Norway, and is slow enough to be a great place to focus and create, but fast enough not to be too boring. It's the administrative center for this part of the country, and doesn't really have one central industry. The one outstanding thing I can think of is that our local soccer team (Rosenborg or RBK) has been one of the ten best clubs in all of Europe for the last 3 or 4 seasons. If you want to compare it to U.S. standards, I guess Flagstaff or Austin, with a bit of an old world vibe thrown in, would be the closest in terms of size and feel. You know: the sticks but not quite.

NB: You have been active in the preservation of the bohemian Svartla'mon area of Trondheim. How does the future of the neighborhood look? Have the developers and politicians been kept at bay?

BS: For the last couple of years, things have been quiet. People are just waiting to see what the powers that be will cook up next. I've heard various rumors, but nothing definitive. The city is growing and the value of the land is growing by the week, so I wouldn't be surprised to see it all laid waste and rebuilt. We'll just have to wait and see.

NB: Let's talk about upcoming releases. I understand you are doing an EP with Man's Ruin Records and have a second Roadwork CD ready at Stickman. When will these be available? Are there any other projects in the works?

BS: We have a 7 song - very R'n'R - mini-album ready for release. We've been talking to Man's Ruin, but as I'm writing this it's all a bit uncertain, so frankly I don't know if it's going to happen. We seem to be on the weird side, or maybe a bit too demanding/knowledgeable about the business side of things for U.S. labels. I don't know - maybe we're too European in their eyes? Anyhoot, we'd love to come over to play and have someone release our stuff, but you know there's a lot of money/organization needed to do it, and so far it's not been possible. The second Roadwork volume is almost ready too. There's some cover art still to be taken care of, but hopefully it'll be ready by Christmas. When people get back from vacations we'll start working on new material, but I don't see us in the studio before next year.

NB: I was very sorry to read in Looftpage, May 2000 that Gebhardt is going deaf. How severe is the hearing loss?

BS: He has some tinnitis problems and a 35dB dip at around 2kH in his left ear, but as long as he wears plugs when playing it's OK. Anyway he's getting good at reading lips, so…

NB: Baard Slagsvold played a big part in the sound of Let Them Eat Cake with his keyboard playing and arrangements. He's also been playing live with you guys. Has he joined the band or is he a guest performer?

BS: Baard is a guest performer. He has his own band(s) and a lot of session work with other people in Oslo, so I don't think he'd move here to do only Motorpsycho.

NB: Your band has achieved a great deal of popularity in Europe while staying independent and retaining control of your creative process. Do you have any words of wisdom to share with bands that are just starting out?

BS: Don't sign anything until you've thought about the alternatives. It's your and only your music so don't give it away too cheaply. The music biz isn't there to help you. It's there to take your money. If you do it for the right reasons, you might not sell shitloads, but you'll have made something that's true. Fame is basically a hassle, and has no value whatsoever if it's not on your own terms. Anyone can be a whore - there's no art to that - and being famous for it ain't too much to be proud of.

NB: Have you ever toured or visited the U.S.? If so, what did you think of American life? Are you planning to tour here in the future?

BS: We did a showcase at South by Southwest in Austin a year ago, and that's the only thing we've done in the U.S. so far. I spent 5 weeks in San Francisco in 1991, and drove from NYC to San Fran with a friend last summer. I don't know - it's different from Europe in many regards, but quite similar in others. The main difference is the feeling I get when I'm in the States that nothing is built to last. It has an urgency and a feeling of transition that I find fascinating. Where most European countries have a settled and stately feeling to them and a sense of solidity permeating them, the States seem in flux -as if the center is too weak to hold and everything is pulling in different directions. Most American states or cities also feel the same. There isn't too much difference between say LA and Newark - it's all a big sprawl with no defined center like most European cities have, and you don't see the cultural differences as clearly as you do in, say Italy and Sweden. Like I said earlier, of course we'd like to come over, but not at any cost. It'd have to feel right, you know?

NB: Are you free to talk about your court case against the Norwegian label Voices Of Wonder (for control of Motorpsycho's early work)? If so, how's it going?

BS: We're currently waiting for the verdict, so there isn't too much to tell, but it feels good to have put the foot down and said no. But it's also kinda sad to have to drag them to court to get things straightened out. It's not what I thought I would have to deal with when we first started working with them. I just hope we get our stuff back and can get on with life without VOW.

NB: The musical references in your work show an encyclopedic knowledge of rock history. Aside from the obvious influences (The Who, Sun Ra, Pink Floyd, Led Zeppelin, King Crimson, Motorhead, Kiss, Hüsker Dü, Sonic Youth, Metallica, Soundgarden, etc.), which bands do you listen to these days?

BS: Mostly Jazz: Coltrane, Mingus, Sanders, Sun Ra, Miles, but also a lot of overproduced late 60s LA sunshine pop (Sagittarius, Love, Beach Boys, Van Dyke Parks, etc.) and I'm also catching up on some of the classics (Van Morrison, Serge Gainsbourg, Todd Rundgren, etc.).

NB: Bent - were you ever a fan of Chris Squire (the bass player from Yes)? I thought of him when I first heard your playing on the more progressive parts of Angels And Daemons At Play and Trust Us.

BS: I was a huge Yes fan, but haven't really paid too much attention to what they did after 1975. Chris Squire was (and probably still is) one hell of a bass player, and I probably picked up some stuff from him, but my big idols ,"bass"ically speaking, are John Entwistle, Phil Lesh, Mingus, Jack Bruce, Carol Kaye, Lemmy and Paul McCartney.

NB: This e-mail interview is kind of an odd, one-sided format. Is there anything you would like to say beyond responding to the questions I've asked?

BS: Not really. I'll probably think of something later, but right now I think this covered most of it. As for the future, I hope I someday can write something as beautiful as "Surf's Up". That's about as perfect as life can get.

…Bent.

NB: A number of your pop songs like "Sungravy" (Timothy's Monster), "The Nerve Tattoo" (Blissard), "Wishing Well" (Starmelt ep) and "Big Surprise" (Let Them Eat Cake) come pretty close to that standard of perfection. Thanks a lot Bent. You guys rule!

Interview © 2000 Bent Sæther and Nick Bensen

MOTORPSYCHO ANNOTATED DISCOGRAPHY & CAREER OVERVIEW

By Nick Bensen
(based in part on discography links from Motorpsycho.fix.no)

NOTE: An unknown (now defunct) American band also calling themselves Motorpsycho put out a CD entitled Wrenched. Please disregard.

MAIDEN VOYAGE (1990) Cassette on Knallsyndikatet
Only 100 copies produced. Features Kjell Runar "Killer" Jensen on drums. May be re-released as a 10" EP if a good copy turns up. Track 4 was redone for Another Ugly ep.

Side Motor:
1. Politician
2. Queen Chinee

Side Psycho:
3. How Was I To Know (live)
4. Blueberry Daydream

LOBOTOMIZER (1991) CD/LP on Voices Of Wonder
MP's full-length debut. Mostly grunge/metal but tracks 1 & 7 are acoustic psychedelic. "Killer" Jensen played the drums. Country versions of tracks 3 & 5 appear on The Tussler. A 1993 live recording of 4 can be found on the Voices Of Wonder compilation.

1. Lobotomizer 1:02
2. Grinder 3:40
3. Hogwash 8:20 - Hammond organ by Geir Nilsen
4. Home Of The Brave 6:42
5. Frances 3:40
6. Wasted 3:57
7. Eternity 2:09 - Words by William Blake
8. TFC 11:52

SOOTHE (1992) 10" EP on Voices Of Wonder
Diverse in comparison to the previous album, this vinyl-only EP was later released (with two bonus tracks - see below) as the CD 8 Soothing Songs For Rut. The arrangements are more psychedelic than before although Bent's vocals retain their metal qualities. This was Gebhardt's first release with the band. 100 special copies were packaged in a painted welded-steel case. Mountain ep contains a less dramatic remake of track 2. A radically different version of 4 appears on Demon Box.

1. Lighthouse Girl 9:23
2. Sister Confusion 5:53
3. The Wait 6:41
4. Step Inside 7:11
5. We All Float Down Here! 1:07
6. California Dreamin' 5:08 - Mamas & The Papas cover

3 SONGS FOR RUT (1992) 7" single on Voices Of Wonder
Three streamlined metal tunes in the Sub Pop tradition. Tracks 1 & 2 were added to the songs from Soothe to complete 8 Soothing Songs For Rut. What happened to song 3? Were 9 songs too many for Rut to deal with? That track ended up on the Subbacultcha! and Voices Of Wonder compilations. On the 7", 2 & 3 were cut into parallel grooves.

This Side:
1. Have Fun 3:48

That Side:
2. Loaded 2:51
3. Some Real Mindfuck 3:13

8 SOOTHING SONGS FOR RUT (1992) CD on Voices Of Wonder
As stated above, Soothe + 2 out of 3 Songs For Rut. Track 7 is 5 from Soothe recorded backwards (although it sounds pretty similar coming and going).

1. Have Fun 3:48
2. Loaded 2:51
3. Lighthouse Girl 9:23
4. Sister Confusion 5:53
5. The Wait 6:41
6. Step Inside 7:11
7. We All Float Down Here Too! 1:07
8. California Dreamin' 5:08 - Mamas & The Papas cover

DEMON BOX (1993) CD/2-LP on Voices Of Wonder
MP discovers the full spectrum of moods and styles on this mammoth set. From light and sweet to heavy and disturbing, it's all here. This was an artistic and critical breakthrough. Helge Sten (a.k.a. Deathprod) joined as a full member of the band during this period, although he stepped back to being an associate and a producer after. Lars Lien (keyboards/backing vocals) and Vegar Moen (electric sitar) also played on these sessions. Country takes on tracks 1, 4 & 10 are on The Tussler. 8 is a sinister reworking of 6 from 8 Soothing Songs For Rut. Alternate versions of 11 were done for Wearing Yr Smell ep and a compilation called Hulen fra A til Å. A remix of 13 showed up on Rock Furore #3. The vinyl version of D.B. contains the bonus tracks "Mountain" (later on Mountain ep), "Gutwrench" and "Mr. Who".

1. Waiting For The One 2:50
2. Nothing To Say 5:19
3. Feedtime 5:16
4. Sunchild 4:06
5. Tuesday Morning 4:23
6. All Is Loneliness 5:09 - Moondog cover
7. Come On In 2:40
8. Step Inside Again 3:40
9. Demon Box 17:06
10. Babylon 2:30
11. Junior 4:34
12. Plan #1 7:40 - Narration by American poet Matt Burt
13. Sheer Profoundity 3:37
14. The One That Went Away 3:13

MOUNTAIN EP (1993) CD on Voices Of Wonder
Mostly an annex to D.B., but notable for the powerful triple threat of tracks 1, 2 & 3. Tracks 4 & 5 are meditative lo-fi recordings based around an old Viscount organ. 5 is a toned-down reading of 4 from 8 Soothing Songs For Rut.

1. Mountain 11:12 - Hammond organ & piano by Lars Lien
2. Fleshharrower 3:25 - Vocals by Deathprod, narration by Matt Burt
3. The House At Pooneil Corners 9:10 - Jefferson Airplane cover
4. Viscount GriSnah 2:52
5. Sister Confusion (Confused Version) 4:51 - Viscount organ by Lars Lien

ANOTHER UGLY EP (1994) CD on Voices Of Wonder
Another creative leap forward, this was MP's most varied yet consistent release to date. Tracks 1 & 3 are excellent songs by any measure. 4 is a new recording of 4 from Maiden Voyage. 7 is a tribute to Lemmy & Co.

1. Another Ugly Tune 3:45 - Wurlitzer by Lars Lien
2. Watching You 4:36 - Kiss cover
3. She Used To Be A Twin 7:04
4. Blueberry Daydream (Daydream Version) 4:49
5. Summertime Is Here 4:05 - Larry "Lux" Llydwlin cover with vocals by its writer (Geb's Welsh grand-uncle). Lux had a hit with this song in the 1970s. Piano by Lars Lien.
Hidden Tracks:
6. Deathprod's barely audible mellotron interlude 2:19
7. Motorhead Mama 3:23

PROMOTOR 1 (1994) Promo CD single on Stickman
Included with early copies of Timothy's Monster. Tracks 1 (full-length) & 2 are from T.M.

1. Leave It Like That (edit) 2:34
2. Now It's Time To Skate (album version) 4:58
3. Working For MCA 5:43 - Lynyrd Skynyrd cover

PROMOTOR 2 (1994) Promo CD single on Stickman
Tracks from Timothy's Monster.

1. Leave It Like That 3:34
2. Now It's Time To Skate 4:58
3. Feel 3:26

TIMOTHY'S MONSTER (1994) 2-CD/3-LP on Stickman
The divergent directions are no longer in conflict on mid-period MP's finest achievement. Disc 1 is a steamroller of great alternative songs (10 is a prog. epic) and Disc 2 is expansively cosmic (although 3 is relentless industrial/metal). Producer Deathprod played mellotron, theremin, etc. Engineer Lars Lien contributed keyboards and backing vocals to the album. A live recording of Disc 1, track 1 is the bonus song on the 2-LP version of Roadwork vol. 1. A live version of Disc 2, track 1 appears on Roadwork vol. 1 and a live acoustic version of the same song was included on The Nerve Tattoo ep.

CD ONE:
1. Feel 3:26
2. Trapdoor 4:22
3. Leave It Like That 3:34
4. A Shrug & A Fistful 3:14
5. Kill Some Day 6:54
6. On My Pillow 7:21
7. Beautiful Sister 4:12
8. Wearing Yr Smell 3:35
9. Now It's Time To Skate 4:58
10. GiftLand 10:21
11. Watersound 5:21

CD TWO:
1. The Wheel 16:57
2. Sungravy 4:37 - Cello by Øyvind L. Engen, viola by Lars O. Mølnå, strings arranged by Øyvind Brandtsegg
3. GrindStone 7:17
4. The Golden Core 13:00 - Backing vocals by Anneli Drecker, vibraphone by Øyvind Bronsegg

TIMOTHY'S MONSTER (1994) 1-CD version on Stickman
Condensed album containing shortened edits of some songs.

1. Feel 3:26
2. Trapdoor 4:22
3. Leave It Like That 2:34
4. A Shrug & A Fistful 3:14
5. Kill Some Day 6:54
6. The Wheel 8:48
7. Watersound 5:10
8. On My Pillow 5:43
9. Wearing Yr Smell 3:35
10. Now It's Time To Skate 4:58
11. GrindStone 7:17
12. The Golden Core 13:00 - Backing vocals by Anneli Drecker, vibraphone by Øyvind Bronsegg

THE TUSSLER (1994) LP on Indigo, (1996) CD/2-10" on Stickman
Country-rock album containing new arrangements of songs from Lobotomizer (tracks 3 & 6) and Demon Box (4, 9 & 10). An early version of 11 was one of MP's first songs released (on a 1990 compilation cassette from Knallsyndikatet). The Stickman 2-10" vinyl edition includes four bonus tracks: "Polka With The Devil" (also on the Fra Svartla'mon With Love benefit CD), "Lazy Days" (Gram Parsons cover), "Changes" (K. Karlsen cover) and "Albuquerque" (Neil Young cover).

1. Theme From The Tussler 1:39
2. Six Days On The Road 2:56 - Cover of country song written by Green & Montgomery
3. Frances 2:12
4. Babylon 3:52
5. I Know You Rider 3:53 - Traditional song made famous by The Byrds, The Grateful Dead and Hot Tuna
6. Hogwash 3:00
7. The Tussler (Slight Return) 0:25
8. SonnyBoy Gaybar 1:37
9. Sunchild 5:28
10. Waiting For The One 3:04
11. A Memory 5:03

WEARING YR SMELL EP (1994) CD/10" on Stickman
A strong indie-rock love song (a revised mix of Disc 1, track 8 from Timothy's Monster) anchors this set. 3 is a new acoustic-based version of 11 from Demon Box. 5 is the short version of Disc 1, 3 from T.M.

1. Wearing Yr Smell (single)
2. President Block 3:21 - Epinastic Movements cover (they are another Trondheim group), vocals by Deathprod
3. Junior 4:30
4. Birds 4:13
5. Leave It Like That (edit) 2:34

THE NERVE TATTOO EP (1996)
One of MP's greatest psychedelic pop songs (a slightly longer version of majestic track 5 from Blissard) leads off the EP. The single version can also be found on Succour - The Terrascope Benefit Album. This EP features the first example of Gebhardt's eccentric songwriting style (2). 3 is a Dutch radio performance of Disc 2, track 1 from Timothy's Monster. 5 is also on a split single with Alice Cooper. A live acoustic version of the same song appears on the Soniche Avventure III and Stickin' It To You compilations.

1. The Nerve Tattoo (single) 4:28
2. Of Beacons And Beams 1:14 - Geb instrumental
3. The Wheel (live acoustic) 7:43
4. Pale Day 2:27 - Deathprod song
5. Mad Sun 3:20

BLISSARD (1996) CD/LP on Stickman
The first part of this album focused on tight, noisy alt. rock (tracks 1, 2 & 4). Track 1 was also released as a 7" single. 3 is a vocal highlight for Snah. 5 & 8 stand among the band's best EP title songs. 7 is a psychedelic epic. Things become increasingly quieter starting near the end of 7. 10 is a very peaceful instrumental. Morten Fagervik (keyboards, vibraphone, rhythm guitar & vocals) and Deathprod (theremin, samples & oscillator) are given full performing credit with the band.

0. Hidden track (rewind from start of 1) - Mellow jazz keyboard improv. Approx. time 7:09, although the CD rewinds to around -8:45.
1. Sinful, Wind-borne 5:22
2. "Drug Thing" 4:37
3. Greener 6:15
4. 's Numbness 3:57 - Backing vocals by B. Forsudd & R.Y. Uggen
5. The Nerve Tattoo 4:03 - Backing vocals by B. Forsudd, violin by O.H. Moe
6. True Middle 4:51 - Narration by Matt Burt
7. S.T.G. 9:46 - Pandeira by M. Banto
8. Manmower 4:16
9. Fools Gold 3:57
10. Nathan Daniel's Tune From Hawaii 6:11 - Deathprod song

MANMOWER EP (1996) CD/10" on Stickman
Another great psych./pop song from Blissard backed by various rarities. 5 is a tribute to Velvet Underground guitarist Sterling Morrison.

1. Manmower (single)
2. A Saw Sage Full Of Secretion 1:58 - Geb instrumental
3. Heaven + Hell 3:50 - John Entwistle cover from his solo debut. Also added to the expanded CD version of The Who Live At Leeds.
4. 7th Dream 3:57
5. Sterling Says 4:11 - Lyrics by Matt Burt

"SINFUL, WIND-BORNE" (1996) 7" single on Runt
Track 1 from Blissard + track 3 from Promotor 1.

1. Sinful, Wind-borne 5:22
2. Working For MCA 5:43 - Lynyrd Skynyrd cover

BABYSCOOTER EP (1997) CD on Stickman
Tracks 1-5 from Angels And Daemons At Play (see details below).

1. Sideway Spiral 1 2:34
2. Walking On The Water (a.k.a. You Lied) 4:20
3. Heartattack Mac 7:41
4. Pills, Powders And Passionplays (Miss Mitchell In The Ladies Room) 3:24
5. In The Family 5:25

HAVE SPACESUIT WILL TRAVEL EP (1997) CD on Stickman
Tracks 6 & 0 from AADAP + the EP title song combined into one long track.

1. Un Chien d'Espace/Have Spacesuit Will Travel/Ohm's Concerto For Alto And Soprano Saw - Approx. time 30:00

LOVELIGHT EP (1997) CD on Stickman
Tracks 7-11 from AADAP plus a hidden country track (6). The three AADAP EPs were also released as a box set.

1. Sideway Spiral II 3:22
2. Like Always 3:39
3. Stalemate 4:56
4. Starmelt/Lovelight 3:31
5. Timothy's Monster 4:17
6. Atlantic Swing

ANGELS AND DAEMONS AT PLAY (1997) CD/2-LP on Stickman
Continuing in the alternative vein of Blissard while revisiting the dynamic range of earlier work. Tracks 1 & 10 (also an EP lead track) are very psychedelic, 3 & 11 are as heavy as any of MP's songs, 4 & 9 are subtle and quiet, and 6 is the art-rock epic to end all art-rock epics. Live versions of 2 & 6 are on the set list of Roadwork vol. 1. Ohm (violins, alto and soprano saw & grand piano) and Deathprod (oscillators, reverbators, ring modulators & echoplex) share full performing credit with the band. The 2-LP vinyl version includes "Back To Source" (later on Ozone ep) and "Have Spacesuit Will Travel".

0. Ohm's Concerto For Alto And Soprano Saw 1:33 (rewind from start)
1. Sideway Spiral 1 2:34
2. Walking On The Water (a.k.a. You Lied) 4:20
3. Heartattack Mac 7:41
4. Pills, Powders And Passionplays (Miss Mitchell In The Ladies Room) 3:24
5. In The Family 5:25
6. Un Chien d'Espace 13:40
7. Sideway Spiral II 3:22
8. Like Always 3:39
9. Stalemate 4:56
10. Starmelt/Lovelight 3:31
11. Timothy's Monster 4:17

STARMELT EP (1997) CD/10" on Stickman
Yet another remarkable psych./pop song (track 10 from AADAP) starts off this outstanding EP. There is a whimsical 22-second long instrumental between 1 & 2. Tracks 3 & 4 are real MP classics, the former an acoustic ballad, the latter a Neil Young-influenced jam.

1. Starmelt/Lovelight 3:31
2. Up Our Sleeves 3:36 - Humble Pie cover (and a loud one at that)
3. Wishing Well 5:07
4. Flick Of The Wrist 8:52
5. Instamatic 3:07 - Geb instrumental

TRUST US (1998) 2-CD/2-LP on Stickman
Can they just keep getting better? This massive double album is the apex of modern progressive rock (at times recalling Jane's Addiction or Smashing Pumpkins without the abused-child vibe). Repeatedly careening from a whisper to a scream and back, MP draws upon all their major sources of inspiration in a grand show of purpose and vision. Disc 1, track 2 and Disc 2, track 7 were edited for EPs. Performances of Disc 1, 4 and Disc 2, 5 appear on Roadwork vol. 1. Disc 1, 5 and Disc 2, 8 are short instrumentals that conjure a sense of lonely arctic landscapes. The pop-metal ballad Disc 1, 6 is enriched by an incredible, bass-heavy central jam. A slow, brooding arrangement of Disc 2, 2 is part of "Hey, Jane" ep. Disc 2, 6 is a delicate lullaby sung by Snah. The rest is pure rock glory. The band is joined by associates Deathprod (loops, echomachines & theremin), Ohm (saw, violin & Hadelands fiineste glass) and Trygve Seim (reindeer antler, flutes, shenai, saxophones & clarophone).

CD ONE:
1. Psychonaut 6:58
2. Ozone 4:33 - Upright bass by Kai Ø. Andersen
3. The Ocean In Her Eye 9:16
4. Vortex Surfer 9:00
5. Siddhardtino 1:38 - Trygve Seim reindeer antler solo
6. 577 7:48

CD TWO:
1. Evernine 5:07 - Beats by Jarle Vespestad
2. Mantrick Muffin Stomp 3:50
3. Radiance Freq. (a.k.a. Radiator Freak) 10:22
4. Taifun 7:09 - French horns by Tone Reichelt
5. Superstooge 6:49
6. Coventry Boy 2:32
7. "Hey, Jane" 5:15
8. Dolphyn 1:26

OZONE EP (1998) CD/10" on Stickman
In Norway, this EP came out before Trust Us. Track 1 is an abridged version of Disc 1, track 2 from that album (sacrificing the Electric Ladyland-style fade out). 3 is a bright acoustic number with a title borrowed from Captain Beefheart. The art-metal anthem 5 was on the Angels And Daemons At Play vinyl set.

1. Ozone (single) 3:48 - Upright bass by Kai Ø. Andersen
2. Acute Nicotine Withdrawal Symptoms 1:44 - Geb instrumental
3. The Skies Are Full Of… Wine? 2:17
4. Young Man Blues 4:22 - Smoking cover of Mose Allison song popularized on The Who Live At Leeds
5. Back To Source 6:35

"HEY, JANE" EP (1998) CD/10" on Stickman
Track I is an edited recording of Disc 2, track 7 from Trust Us. 2 is a reinterpretation of Disc 2, 2 from that set. 3 is a psychedelic practice tape that made the final cut. 5 was recorded back in 1994.

1. "Hey, Jane" (single) 4:48
2. Mellow Muffin Stomp 7:10
3. Celestine 4:19
4. Valis 1:37 - Geb instrumental
5. The Ballad Of Pat & Put 6:52

ROADWORK VOL. 1: HEAVY METALL IZ A POZE, HARDT ROCK IZ A LAIFSCHTEIL, LIVE IN EUROPE 1998 (1999) CD/2-LP on Stickman/3rd Ear
Monster power-trio live album recorded at Conne Island, Leipzig, Germany (May 9, 1998), Kesselhaus, Berlin, Germany (May 27, 1998) and Tivoli, Utrecht, Netherlands (May 30, 1998). The first and last parts of track 2 come from track 6 on Angels And Daemons At Play. 3 is a thunderous medley of "Superstooge" from Trust Us and "The Wheel" from Timothy's Monster. 4 is a version of 2 from AADAP using a different title. 7 is a rousing performance of Disc 1, 4 from Trust Us. The vinyl set has a live version of "Feel" from T.M. as a bonus track.

1. The Other Other Fool 10:40
2. A K-9 Suite 30:46

i. Un Chien d'Espace, pt. 1
ii. Astral Travelling
iii. Sirius Rising
iv. The Rounder We Go, The Faster We Get
v. Un Chien d'Espace, pt. 2

3. Super/Wheel 16:22
4. You Lied (a.k.a. Walking On The Water) 4:42
5. Black To Comm 6:25 - MC5 cover incorporating a section of "Back To Source" from Ozone ep & AADAP vinyl set
6. Words Of Wisdom 0:13 - Snippet of a traditional song
7. Vortex Surfer 9:13

THE OTHER FOOL EP (2000) CD/10" on Stickman
The first track is a prematurely faded version of the sweeping orchestral rock song that begins Let Them Eat Cake. A solid, likeable retro rock set with one breathy Pink Floyd-influenced ballad (2) follows. Each song sounds as if it were done by a different band (an idea articulated in the liner notes). A new take on 5 can be found on Barracuda.

1. The Other Fool (single) 3:59 - Horns/strings arranged by Baard Slagsvold, played by Strings Unlimited (Kristin Karlsson, Einy Langmeon, Kjersti Rydsaa & Kristin Skjølaas), Erlend & Jørgen Gjerde and Arve Frang
2. The Sailboat Song 2:58
3. Johnny Finds The Leak 3:12
4. Jumpin' Flashback 3:37
5. Funk '99 (Star Star Star) 4:50

LET THEM EAT CAKE (2000) CD/LP on Stickman
A restrained jazz/pop collection, emphasizing the understated aspects of MP's talents. Tracks 1 & 4 were used for EPs. 2 is a stately ballad beautifully sung by Snah. Two anti-religious songs (4 & 8) give the album an edge. 6 is a wonderful tribute to Duane Allman.

1. The Other Fool 5:40 - Horns/strings arranged by Baard Slagsvold, played by Strings Unlimited (Kristin Karlsson, Einy Langmeon, Kjersti Rydsaa & Kristin Skjølaas), Erlend & Jørgen Gjerde and Arve Frang
2. Upstairs-Downstairs 5:12 - Same credits as track 1
3. Big Surprise 3:34
4. Walkin' With J. 3:58 - Fender Rhodes & backing vocals by Baard Slagsvold, trombone by Helge Sunde
5. Never Let You Out 2:49 - Horns arranged by Baard Slagsvold, played by Erlend & Jørgen Gjerde and Arve Frang, drum machine programmed by Deathprod
6. Whip That Ghost (Song For A Bro') 6:26 - Piano by Baard Slagsvold
7. Stained Glass 6:12 - Waldhorn by Tone Reichelt
8. My Best Friend 4:21 - Piano by Baard Slagsvold
9. 30/30 7:21 - Horns (intro/outro) arranged by O.H. Moe, choral by Arve Henriksen, played by Ohm, Arve Henriksen, Tone Reichelt and Helge Sunde

WALKIN' WITH J. EP (2000) CD/10" on Stickman
Track 1 is the same biting New Orleans strut as Let Them Eat Cake track 4. Three of the other tracks are by Gebhardt, chosen to call attention to his solo 10" record (Gebhardt Plays With Himself). All of the tracks are worthwhile (2 is melodic post-hardcore, 3 a strange country blues and 4 a two-part electronic journey) but, surprisingly, only the last track (written by Snah) sounds like a typical Geb number.

1. Walkin' With J. 3:58 - Fender Rhodes & backing vocals by Baard Slagsvold, trombone by Helge Sunde
2. Junkfood Mailbomb 3:35
3. Captain Geebheart 3:18
4. KR-3 4:59
5. Abendspaziergang 2:18 - Snah instrumental

ROADWORK VOL. 2: THE MOTORSOURCEMASSACRE (2000) CD/2-LP on Stickman/3rd Ear
After using a light, accessible kind of jazz on parts of Let Them Eat Cake, Motorpsycho took the opportunity to bewilder critics with something at the extreme limits of modern improvisation. Recorded at Kongsberg Jazzfestival 1995, this recording is a collaboration between Motorpsycho, Deathprod and free jazz group The Source. This is a real love it or hate it album, one of Motorpsycho's most challenging. When all the disparate elements come together, it can be very powerful. Deathprod - theremin and audio virus, Morten Fagervik - keyboards, Trygve Seim - saxophones, Øyvind Brække - trombone, Ingebrigt Håker Flaten - bass, Per Oddvar Johansen - Drums. The original versions of tracks 2, 3 and 6 appear on Timothy's Monster.

1. Olemanns Kornett 0:23
2. GrindStone 8:48
3. The Wheel 22:06
4. Finske Skoger 9:39
5. Dreams 9:56
6. The Golden Core 12:08
7. Limbo 7:52
8. Nå 2:48

BARRACUDA (2001) CD/LP on Stickman
A swaggering rock and roll mini-album recorded at the same time as Let Them Eat Cake. Playful references to classic rock riffs and conventions make Barracuda a lot of fun. Tracks 1 & 3 feature crisp '70s style horns. 6 & 7 are modern psychedelic rock anthems. 3 is a more in-your-face remake of "Funk '99" from The Other Fool.

1. Heartbreaker 4:58 - Horns arranged by Baard Slagsvold, played by Erlend & Jørgen Gjerde and Arve Frang, backing vocals by Baard Slagsvold
2. High Time 3:59
3. Star Star Star 4:08 - Horns arranged by Baard Slagsvold, played by Erlend & Jørgen Gjerde and Arve Frang
4. Vanishing Point 3:33 - Piano & backing vocals by Baard Slagsvold
5. Rattlesnake 2:25
6. Dr. Hoffman's Bicycle 7:00
7. Glow 7:26 - Backing vocals by Baard Slagsvold

PHANEROTHYME (2001) CD/LP on Stickman
Adult contemporary? Easy-listening orchestration? A few years ago, I never could have imagined that these phrases would apply to a Motorpsycho album. That said, long musical careers often have an element of creative restlessness that inspires artists to push out in many unexpected directions (David Bowie and Neil Young are prime examples). This time out Motorpsycho crafts a pure pop sound unlike anything they have released before. Add to that a touch of streamlined '80s post-progressive rock, and you have an overall style that retains the band's personality and is unique enough to diffuse any possible accusations of selling out. Track 1 is a subtle ballad with a memorable tune. The hardest rocking song on the album, 2 would fit in pretty well on any recent Motorpsycho release. The central Doors-style fuzz guitar and keyboard jam in 5 is, in my opinion, the highlight of Phanerothyme. Snah takes full advantage of a chance to wring some sharp blues lines out of his guitar on 6. 7 plays like a Rod Stewart single with a chorus by Burt Bacharach and a short psychedelic breakdown. A number of musicians including Baard Slagsvold and Helge Sten play parts in the complex arrangements (see the album inlay for full orchestration details).

1. Bedroom Eyes 2:18
2. For Free 5:14
3. B.S. 3:42
4. Landslide 4:38
5. Go To California 8:01
6. Painting The Night Unreal 6:36
7. The Slow Phaseout 4:30
8. Blindfolded 3:45
9. When You're Dead 4:52

SERPENTINE EP (2002) CD on Stickman
Nice Snah lead song with b-sides ranging from atmospheric folk (Track 2) and country (3) to hard rock with clever '60s & '70s allusions (4, 5).

1. Serpentine (single) 3:29
2. Shane 2AM 2:55
3. Little Ricky Massenburg 4:11
4. Snafu 4:17
5. Fade To Gray 5:39

IT'S A LOVE CULT (2002) CD/LP on Stickman
IALC presents the best of all recent MP styles. It all comes together here and everything makes sense - contradictions live in a new harmony. Tracks 1 and 3 rock triumphantly while 2, 4 and 7 are some of the band's most subtle and moving quiet tracks. 5 builds like a Led Zeppelin epic while 6 and 10 are refreshingly straightforward. 9 picks up where Angels And Daemons At Play left off. The line-up includes Baard Slagsvold and Helge Sten.

1. Überwagner or A Billion Bubbles In My Mind 5:36
2. Circles 4:00
3. Neverland 4:01
4. This Otherness 6:31
5. Carousel 7:16
6. What If… 4:36
7. The Mirror And The Lie 6:43
8. Serpentine 5:17
9. Custer's Last Stand (One More Daemon) 4:06
10. Composite Head 2:26

SOLO:

GEBHARDT PLAYS WITH HIMSELF (2000) 10" EP on Geb Records/CD on Stickman
Further explorations from the eclectic multi-instrumentalist. Tuneful, mostly instrumental tracks somewhere between lo-fi bluegrass and alien dance music.

1. Forgotten Flea 0:31
2. Pick-Nick 3:32
3. Marc The Robot 4:29
4. Minor Tune 1:57
5. Tech.no 2:59
6. PIMA 3:23
7. Jack R.I.P. 2:47
8. Et.no 2:30
9. Stumble Toe 3:08
10. Tuna Tune 2:33
11. Getting Old 3:31

SIDE PROJECTS:

DEATHPROD - TOWBOAT (1994) CD on Metal Art Disco
Snah plays violin on Helge Sten's avant garde project.

MATT BURT - GRUMPY GROOVY (1997) CD on Stickman
Snah and Vegar Moen back up the American poet on two tracks.

SANDERFINGER - CAMPING (1999) CD on Progress
SANDERFINGER - EVIG ROSA (2000) CD on Progress
Modern pop/rock produced by Bent (who also provides some musical support).

HGH - PIGNOISE (2000) CD on Stickman
Gebhardt country/bluegrass side band.

GEBHARDT/GROAN ALONE - A TRIBUTE TO HAPPY JACK THE SQUIRREL (2001) Split 7" on Apartment Records

Gebhardt also plays on the albums ASTORDOME and FISH by HOME GROAN.

COMPILATION TRACKS & SPLIT FORMATS:
(A selective listing concentrating on rarities. I didn't feel it was necessary to include every CD containing a regular Motorpsycho album track):

KNALL - THE ALBUM VOL. 4 (1990) Cassette on Knallsyndikatet

Memory - Remade in 1994 for The Tussler

SUBBACULTCHA! (1992) CD/Cassette on Progress

Some Real Mindfuck 3:13 - From 3 Songs For Rut

MOTORPSYCHO/HEDGE HOG (1993) Split 7" single on Helter Skelter

1. Motorpsycho: Into The Sun 3:57 - Grand Funk Railroad cover
2. Hedge Hog: Surprise

COMIN' DOWN FAST: A GATHERING OF GARBAGE, LIES AND REFLECTIONS ON CHARLES MANSON (1993) CD on Helter Skelter

Manson's Children - Grateful Dead cover with words changed to fit the Manson story

ROCK FURORE #3 (1993) CD on Rock Furore

Sheer Profoundity (Death To False Metal Mix) - Remix of Demon Box track

VOICES OF WONDER - A COMPILATION (1994) CD on Voices Of Wonder

1. Nothing To Say 5:19 - Demon Box version
2. Some Real Mindfuck 3:13 - From 3 Songs For Rut
3. Home Of The Brave (live) 6:29 - Superior version of track 4 from Lobotomizer, recorded at the 1993 Roskilde Festival, Denmark, narration by Matt Burt

PARTY TERROR II (1994) CD on WAPZ

Space Cadet Boogie

FLAMING YOUTH (1994) CD on Rec 90

Shock Me - Kiss cover featuring Dag Ingebrigtsen

CASE CLOSED,? - AN INTERNATIONAL COMPILATION OF HÜSKER DÜ COVER-SONGS (1994) CD/2-LP on Snoop Records

New Day Rising 2:22 - Faithful rendition with nice surprise piano ending

HULEN FRA A TIL Å (1994) CD on Het

Junior (Bigmuff version) - Another take on the song from Demon Box and Wearing Yr Smell ep

DYNAMO OPEN AIR 10TH ANNIVERSARY (1995) CD on Roadrunner

On The Toad Again (live)

SUCCOUR - THE TERRASCOPE BENEFIT ALBUM (1996) 2-CD from Ptolemaic Terrascope
Excellent overview of contemporary psychedelic music put out by the influential English magazine.

The Nerve Tattoo (single) 4:28

EFFENAAR 1971-1996 25 JAAR CD+ (1996) CD with CD-ROM released by the Eindhoven, Netherlands club

Seethe 3:27 - Also on The Return Of Jesus Part II

MOTORPSYCHO/ALICE COOPER (1996) Split single on Musical Tragedies

1. Motorpsycho: Mad Sun 3:20 - From The Nerve Tattoo ep
2. Alice Cooper: Nobody Likes Me - Live at the Toronto Rock-n-Roll Festival 1969

GAMLE MODER JORD (1996) Greenpeace CD on Sony Norway

Nature's Way - Spirit cover

SUBRAUM MAGAZINE #7 (1996) 7"

7th Dream 3:57 - From Manmower ep

LARMENDE OPPTOG I TAUSHETSGATA (1996) CD on Siri

On The Toad Again - Studio version

ELLEDILLER OG KROKOFANTER - EN HYLLEST TIL KNUTSEN OG LUDVIGSEN (1996) CD on Progress

Syk - Knutsen & Ludvigsen cover featuring Winnefried Ryan (Snah's mother) on vocals

MOTORPSYCHO/TRE SMÅ KINESERE - MOT RIVING (1996) Split CD on Harmonien

1. Motorpsycho: Star Dancer vs. Car Cancer - Lyrics by Matt Burt, also on the Beat Up Bosnia! benefit CD
2. Tre Små Kinesere: Svartla'mon
3. Motorpsycho: La'mon Rag - Geb tune
4. Tre Små Kinesere: Mekaniker (Demo)
5. Motorpsycho: Baby Jesus II (Demo)

THE RETURN OF JESUS PART II SOUNDTRACK (1996) CD on Birdnest

Seethe 3:27 - Also on the Effenaar club CD

BEAT UP BOSNIA! (1996) CD on C.R.A.S.H.

Star Dancer vs. Car Cancer - From Mot Riving

FRA SVARTLA'MON WITH LOVE (1997) CD on Progress

Polka With The Devil - Bonus track from 2-10" version of The Tussler

SONICHE AVVENTURE III (1997) CD released by the Fridge record store chain

Mad Sun 2:59 - Acoustic version recorded live in a Fridge store in Milano, Italy 2/96 (also on the Stickman/Sticksister compilation Stickin' It To You). Original version appeared on The Nerve Tattoo ep.

WE'LL SAIL OUT FAR... MAYBE A LITTLE TOO FAR (1997) 2-CD/2-LP on Apartment Records

Timothy In The Magic City 3:44 - Sun Ra cover using the lyrics from the song "Timothy's Monster" (track 11 from Angels And Daemons At Play)

STICKIN' IT TO YOU (1998) CD on Stickman/Sticksister
Label compilation including the second single from Trust Us and the Soniche Avventure III version of song 5 from The Nerve Tattoo ep.

1. "Hey, Jane" (album version) 5:15
7. Mad Sun (acoustic) 2:59

JEG GLEDER MEG TIL ÅR 2000 (1999) CD on Sonet

Trist Historie - Dum Dum Boys/Wannskrækk cover

FROZEN - A SELECTION OF POLARIZED COUNTRY (1999) CD on S2

Bird Song - Jerry Garcia/Grateful Dead cover credited to The Tussler

VISIONS #12 (2001) CD with Visions Magazine

High Time

THE INTERNATIONAL LEAGUE OF TELEPATHIC EXPLORERS (2002) CD on Free City

12. Go To California (Single) 2:54

MOTORPSYCHO/THE SOUNDTRACK OF OUR LIVES (2002) Split double 7"on Munster Records

Motorpsycho:
1. Go To California (edited radio-promo version)
2. Black To Comm (live 1998)

MOTOR HOME (MOTORPSYCHO + M. HAGFORS) (2002) 7" on Stickman

Side A:
1. Country Chris 3:30
Side B:
1. Life Is A Little Lie 3:52

RED AND BLUE - NEITHER NOR WAY (2002) CD on Clearspot

Gerhard 2:16

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