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Still Life With Eggplant

Motorpsycho Audio CD

Price: 12.97 & FREE Delivery in the UK. Details
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Hell, part 1-3 9:470.89  Buy MP3 
Listen  2. August 4:520.89  Buy MP3 
Listen  3. Barleycorn (Let It Come/Let It Be) 7:180.89  Buy MP3 
Listen  4. Ratcatcher17:10Album Only
Listen  5. The Afterglow 5:570.89  Buy MP3 

Product Description

Product Description

Motorpsycho's previous album, 'The Death Defying Unicorn', a collaboration with Ståle Storløkken, was an ambitious and prestigeous work that took up a good three years from initiation up until the two sold out concerts at the Oslo opera house late last year featuring a 24 piece orchestra. So how do you follow up such an artistically and commercially successful venture? First of all by just being Motorpsycho, a band that for close to 25 years have done whatever they want to without considering trends, career moves or expectations. For 'Still Life With Eggplant' they assembled some 20 songs of what Bent Sæther calls 'other music', simply songs from the last three years that didn't suit the Unicorn but refused to be ignored. In October the band entered Brygga Studio in Trondheim for the first time in many, many moons, this being the studio where they recorded a few of their first albums ('Soothe', 'Demon Box' and 'Timothy's Monster') some twenty years ago - the vibes were good, and the music happened like it was supposed to. As this was the first time in quite a while that the band recorded stand-alone songs - as opposed to pieces connected by a concept or a narrative - it felt quite odd working in this way again, but it was also a refreshing approach that highlighted other aspects of their work that perhaps had been ignored over the last few years. In the end, it still very much felt like Motorpsycho music, albeit with a twist: for three days of the two-week session, the core trio was augumented by guitarist Reine Fiske. Best known for his work in Swedish psych-combos Dungen and The Amazing, Reine is an old acquaintance of the band, and his recent exploits with Ståle Storløkken's Elephant9 made the pairing seem like a potentially interesting one for Motorpsycho as well. It's always good to have a wild card and someone from the outside to mirror your work, and the fruits of Reine's involvement, as presented on this album, speak for themselves: his fingerpicking dexterity on the acoustic guitar provides both 'Barleycorn' and the old Love chestnut 'August' with a solid organic bed for the musical escapades of the other three, and on 'The Afterglow' his tasteful guitar shadings and mellotron work adds immensely to the mood of the song. But it's on 'Ratcatcher' his talents shine the best: he slips right in there, and proceeds to glue Snah's lead guitar and Bent's 'lead bass' together in a different way than we've heard before, adding light and shade and splashes of colour to the musical repartee, but never getting in the way or hogging center stage in an unwelcome fashion. It's the work of a musician with huge ears and an uncanny musical insight.

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Most Helpful Customer Reviews on (beta) 4.2 out of 5 stars  4 reviews
4 of 5 people found the following review helpful
3.0 out of 5 stars Not bad, but not up to Motorpsycho's recent standard 26 April 2013
By Michael Fisk - Published on
Verified Purchase
After a string of exceptional albums (in particular Heavy Metal Fruit and The Death-Defying Unicorn), I was particularly interested to hear what Motorpsycho had for their most recent release, one featuring guitarist Reine Fiske (whose collaboration last year with Elephant9 was quite excellent). However, my expectations were a bit tempered by reading elsewhere that the album was largely a collection of outtakes from the writing sessions for The Death-Defying Unicorn.

The album's opening track "Hell, part 1-3" starts off slow, but picks up speed with some decent vocals and psyched-out guitar riffs, but none of the tracks really stand out as exceptional, especially in the wake of the last couple of Motorpsycho albums. Of particular note, however, is the song "Barleycorn (Let It Go/Let It Be)", a bit poppier of a song but still packed with a subtle amount of energy and a very blissful psych-pop soundscape.

If you're new to Motorpsycho, just about any of their six studio albums prior to this one (from Black Hole/Blank Canvas onward) would be better places to start off than this. For those who are long-standing fans, this one is worth the pick-up, but set your expectations accordingly.
4.0 out of 5 stars Grandiose and spacey album 7 Jun 2014
By S Tuffnell - Published on
Motorpsycho are an amazing band that have the power to mesmirise and inspire with their brand of heavy prog. The album that blew virtually everyone away is "The Death Defying Unicorn", a masterpiece that became a cult in the prog community, and one of the albums of the year for 2012. I remember how the music lifted me into another plane of existence as it simply nailed me to the couch with its inexorable power. The music blew the doors off any boundaries that may have been set in place for music convention and it was wrapped in a concept package. This time around with "Still Life With Eggplant" the band discard the concept and go for a bunch of diverse tracks that are boundary pushing but nowhere near as innovative as the previous album. They set the bar so high that it was almost impossible to reach those heights again I would suggest. In any case the album is still packed with some powerful tracks and wonderful musicianship.
It opens in a blaze of glory with 'Hell Parts 1-3' that has that deep resonating stoner guitar riff and psychedelic style of vocals. The riff jams along locking into place as the band launch into a jam and then it ends with a totally different melody outside of the previous form. It feels like a coda tacked on but it works well enough.

There are some grandiose spacey lead guitar breaks such as the lengthy break on 'Barleycorn (Let It Come/Let It Be)'. The intro has the same feel and melody as the Traffic song 'John Barleycorn Must Die' and this is intentional as it pays homage to the Traffic style. It sounds like a 70s song lifted from a Cream album or Traffic in all respects.

There is a mammoth epic on the album that clocks into 17 minutes, 'Ratcatcher' and this may wear its welcome out after so many minutes of free form jamming. The intro itself is ultra spacey and I love the way the bass builds into the soundscape. The glissando tremolo guitar reverberations are akin to the type of guitar on a Hawkwind album, and the style is totally removed from other material on the album. It suddenly launches into a freakout of pulsing bass, pounding drums and duel guitar licks. The vocals finally enter multilayered and psychedelic, "Save me, is this heaven or hell, ratcatcher!" I was reminded of another modern psych prog band The Ovals, or Diagonal, such as their 'Semi Permeable Men- Brain'. The recent Nik Turner album "Space Gypsy" captured this vintage sound too and it is a great retro throwback to the psychedelic 60s. Hawkwind's 70s music such as 'Orgone Accumulator' also rests on one riff and launches into a freakout lead break in the same style as this Motorpsycho track. The main component of the lengthy 'Ratcatcher' is an extended psych jam that is primarily spacey guitar played improv style over a grinding rhythm and bass section. The drums crash and cymbals splash as the tempo quickens and the lead guitar picking is more intense. There is a lot of sustain and high powered string bends with pedal effects and it begins to hypnotise after a few minutes. It felt as though it were a live concert played to a bunch of stoned followers, in the style of early Pink Floyd concert performances. The vocals return with a grand finale and then it leads into a quieter free form jazz coda till it is all over; one to really ponder over and a very bold track for the band.

The album certainly is a surprise as it is perhaps a simpler approach to the music then the previous release that was totally conceptual focussing on a ship lost at sea and how the crew fight for survival against incredible odds. There are only 5 tracks and none really jump out and measure up to the mind blowing stuff on TDDU. The band even opt for an acoustic ballad with 'The Afterglow' and go for a Cream guitar sound on the cover by Love 'August' that is more like the 1969 song from "Four Sail" than I would have expected for a song recorded in 2013. Motorpsycho are great at capturing the vintage sounds of days gone by when rock gods were born such as Hendrix, Clapton and Garcia. I liked the album a lot but to be honest was expecting something awesome, and it does not deliver in the same way as their previous album; playing it safer and thus draining dry most of the creativity that made them such a powerful prog force on "The Death Defying Unicorn".
5.0 out of 5 stars A grower! 23 Nov 2013
By Bratwurst - Published on
See my comment to Fiske. To sum up I can advice people to spin it several times before coming with a verdict.
0 of 1 people found the following review helpful
5.0 out of 5 stars BEATLES 22 Mar 2014
By SFNico - Published on
Format:Audio CD|Verified Purchase
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