MOTORPSYCHO - Organic Techno for Ballet

15. October 2020


MOTORPSYCHO - Organischer Techno fürs Ballett

The past four years of motor psychology have been dominated by Håkon Gullvåg. His pictures set the framework for an album trilogy that began with "The Tower" and "The Crucible" and has now been completed with "The All Is One". We talked to the painter and the band about their work.

One would think that after successfully completing the trilogy of works, Motorpsycho would first take a break. But in Psychoverse the clocks tick differently. Guitarist Snah already announces the next album - for next winter ..

eclipsed: How does it feel to have finished the trilogy now?

Snah: Immensely satisfying. It was a lot of work, but we are very satisfied with the result. Together with the artwork, it's something really special. The symbolism of Håkon Gullvåg's pictures fits perfectly with what we want to achieve with the music. We had worked with Kim Hiorthøy for a long time before, but at some point we became like an old married couple who no longer communicate. A new beginning was important. Håkon Gullvåg's artwork then initiated the trilogy - whereby the albums naturally belong together musically as well.

eclipsed: Have the trilogy plans been around since "The Tower"?

Snah: The roadmap was created while we were fine-tuning ideas for "The Crucible" and the structure of the piece "N.O.X.", which is now on "The All Is One". We wanted to create a narrative. You just have to follow your vision.

eclipsed: The longtrack "N.O.X." was written during the sessions of "The Crucible"?

Snah: A large part of the structure already existed back then. But we completed the piece only a year ago, as part of a commission for Håkon Gullvåg's 60th birthday. We played rudimentary versions at festivals in Trondheim and Oslo, continued working on it in the autumn, and finally recorded in November. It was similar to "The Death Defying Unicorn", which also started as a commissioned work, but then matured for almost a year. The risk of such commissions is that the work initially only works for live performances, not for recording.

eclipsed: "N.O.X." was intended as a ballet, right?

Snah: Yes, we worked with the dance ensemble Carte Blanche and the director Hooman Sharifi three or four years ago and talked to them about a ballet for "N.O.X.". Hooman will probably dance solo to our music at some concerts in Trondheim in October. Parts of "N.O.X." we wrote especially for Carte Blanche. But in the end we used "Here Be Monsters" with them. It's nice that everything comes together now.

The All Is One

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