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PSYCHEDELIC/SPACE ROCK

A Progressive Rock Sub-genre


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Psychedelic/Space Rock definition

Psychedelic Progressive Rock

Progressive rock music has its roots in the mid 1960's psychedelic cultural phenomena. During that time the British Invasion and folk-rock bands began to expand the sonic possibilities of their music. These groups slowly started to abandon the concise verse-chorus-verse patterns of rock & roll, and moved towards fluid, free-form oriented song structures. Just as important was the incorporation of elements from Indian and Eastern music. Along them the principles of free-form jazz were included to the psychedelic sound, emphasising spontaneous emotions over calculated and estimated compositional constructions. Experimenting with new studio technology, electronically altering instruments and voices, was a part of this altered approach as well. Acid rock groups like THE JIMI HENDRIX EXPERIENCE and CREAM stand as descriptive and popular examples of the path from psychedelic sunshine pop towards a more aggressive and distinct rock expression, in particular showcased in their improvised live performances.

The boundary dividing the "Experimental" and "Progressive" classification is a thin and at times contested one for this era. The pioneering psychedelic progressive rock bands to be found at www.progarchives.com will in most cases be found in the Proto-Prog section of the site. Amongst these pioneering outfits are acts like THE BEATLES, JEFFERSON AIRPLANE AND VANILLA FUDGE. Artists such as PINK FLOYD will not be found there though, as their career extended well beyond these first, formative years.

Psychedelic progressive rock music may contain the elements previously described in varying combinations, but the artistic perspective of progressive rock is another factor. Some psychedelic rock bands stuck to the mid 1960's beat rock style in purist form, not partaking in the experimental development of the impressionistic possibilities of psychedelic rock music others spearheaded. The evolution of the psychedelic depth within a progressive context could be seen for instance in the 1960's recordings of ARCADIUM and BABY GRANDMOTHERS. One good example of early 70's Continental European progressive psychedelic rock is the album by AHORA MAZDA, and from Britain JADE WARRIOR's early efforts fuse psychedelic rock and ethnic music. Current artists exploring the vintage 60's/70's style and sound are acts like THE SPACIOUS MINDS and ACID MOTHER'S TEMPLE.

The entire Western pop culture scene was influenced by the psychedelic culture to some extent, including other prog genres such as Prog Folk. In Germany, artists influenced by the British psychedelic movement formed their own genre called KRAUTROCK. The pioneering early 70's bands in this genre represent the progressive acid rock sound of Germany, experimenting with long instrumental improvisations, emphasizing the use of psychedelic effects and weird electronic sounds. Some examples are artists like AMON DÜÜL, ASH RA TEMPEL, CAN, GÄA, NECRONOMICON and YATHA SIDHRA. The PROGRESSIVE ELECTRONIC style emerged from Krautrock. Some of the most influential artists of this genre, such as TANGERINE DREAM and KLAUS SCHULZE, explored a distinct psychedelic musical style at first, which was influential for the development of the "space rock" sound:


Progressive Space Rock

The late 1960's psychedelic rock scene also spawned the birth of the space rock genre. The pioneering acts of this genre assimilated krautrock elements like repetitive hypnotic beats and electronic/ambient soundscapes as they moved away from the common musical and compositional approach. The synthesizer with its bubbling tones and spacey patterns, provoking a gliding flow, is a typical instrument of this genre. Guitars are by preference played with glissando technique and delay/echo effects are heavily used, and elements originating from reggae/dub are fairly common. Several bands combine their live performances with trippy lightshows using random fractals. Albums in this genre will often include at least one long meandering jam based on a main theme, where loops and wavelike fluctuations provides slight variations to this structural foundation.

Stories, images, song titles and album names referring to cosmic themes are fairly common features of the genre. HAWKWIND's live album "Space Ritual" is said to be the ultimate space rock album due to the collaboration with sci-fi author Michael Moorcock. His lyrics are performed by a narrator and underlaid with synth elements. PINK FLOYD can be regarded as pioneers of spacey music during the band's early phase, as exemplified by certain tracks from "The Piper At The Gates Of Dawn" or the stirring live performance of "Careful With That Axe Eugene" from "Ummagumma". GROBSCHNITT provides another fine example of classic space rock with their epic effort "Solar Music". Other bands explored the space rock sound for a limited time period only. GONG released groundbreaking albums in the genre at the start of their career, while British hard rock band UFO released the extraordinary album "Flying - One Hour Space Rock" as their sole contribution to the genre in 1971.

A space rock scene can be found in most countries sporting artists producing music with a western-oriented or influenced sound. Swedish bands are known for a brisk exchange of musicians among each other. The "Strange Daze" festivals from 1997-2000 showcased the American space rock scene. Japan is an inexhaustible reservoir of artists exploring both psychedelic progressivce rock and progressive space rock. Representative examples of the style are bands such as ORESUND SPACE COLLECTIVE with their focus on long grooving improvisations, QUARKSPACE and OZRIC TENTACLES with their stronger emphasis on electronic elements and VESPERO and HIDRIA SPACEFOLK with their inclusion of ethnic-originating musical components. Other groups like ESCAPADE and THE LEGENDARY PINK DOTS represent an avantgarde approach to the genre, whereas SUBARACHNOID SPACE and KINSKI are examples of artists that provide transitions to the post rock genre.


The boundaries of Psychedelic Progressive Rock connected with Stoner Rock and Acid Folk

The 1960's and 70's were a time of liberation, a time of rebellion against rigid rules and strict moral boundaries. In those "freedom of expression" days, an artist would typically herald their liberal attitudes as a mind-expanding trip on stage together with the audience in two ways. One was to realize audio/visually the visual and auditory hallucination as it was, and another was to play their repertoire spiritually and improvisationally under the trip. As for the latter approach, they devoted themselves solely to slow-to-mid tempo playing with low-tuned guitars in a heavy and expansive manner for playing steadily under this twilight condition. In the same time period, this approach to the musical trip was also taken on by some artists especially in the hard rock and heavy metal scene. This new style, drenched in heavy and downer psychedelia, was called "Stoner Rock". The name originates from the expression "stoned", referring to people in altered states of mind while under the influence of psychedelic substances. The Stoner Rock genre was universalized "as a strict musical style only" by the Industrial Grunge Rock genre that gained worldwide popularity in the early 1990s. The common denominator of all the artists mentioned is the representation of their personal cultural and political backgrounds, whilst playing slow-paced depressive songs with heavy guitars and echoic rumbling drums as the dominating features. Most of current outfits claiming to be the so-called Psychedelic Heavy Progressive Rock ones should be much influenced by the traditional Stoner or Grunge Rock as well as the early Psychedelic Progressive Rock. They can be considered as a borderline case between Psychedelic Progressive, Heavy Progressive, and Progressive Metal.

"Acid Folk" can be mentioned as another musical style with hallucinogenic approach. Psych Folk or Psychedelic Folk are other names for this genre, and is vaguely defined as a rock subgenre due to the mixture of folk rock and psychedelic rock. This is a style lacking in strict definitions, and it is contested whether or not the term was actually used at what is deemed the dawn of the genre. It's an undeniable fact that the Acid Folk scene gained some popularity by the efforts of artists in "The Folk Revivalism", but it's important to remember that there were two distinctly different approaches taken by those who helped shape the genre in the mid 1960's. Some folk singers approached a psychedelic rock structure as was popular at that time, while some psychedelic rock outfits tried to absorb and incorporate techniques and elements from folk rock. Both have great importance in the development of Acid Folk, and this may be the reason that strict definitions of the genre cannot be given. In view of the history, it's no exaggeration to claim that TYRANNOSAURUS REX, SYD BARRETT or THE INCREDIBLE STRING BAND in UK rock scene seasoned the "traditional" Acid Folk with a more progressive spice. They, as eccentric or heretical rock outfits, accepted and incorporated Middle-Eastern and Oriental elements or instruments, and the result was the foundation for the current progressive Acid Folk movement. And in the Eastern parts of the world, different acid streams was provided by artists such as TAJ MAHAL TRAVELLERS or MAGICAL POWER MAKO who exerted a great influence on younger progressive bands. Their amazing achievements resides in the twilight zone between the Prog Folk and Psychedelic Prog subgenres.


A path that never ends

In addition of the styles described, psychedelic elements can be found in many other genres of progressive rock. The psychedelic cultural explosion had an immense influence on the western popular culture, and traces of it can still be heard also outside of progressive rock circles. The collective techno rave parties carry on the legacy of the audiovisual attack from the PINK FLOYD concerts in 1968, to cite one example. As the psychedelic movement was a large cultural phenomenon, it is difficult (and maybe unnecessary) to fence it to a clear category. Psychedelic progressive rock has been developing towards several different directions over time, and the task of classifying them as distinct genres and sub-genres is an ever ongoing process, often loaded with strong opinions. The psychedelic rock artists which are not considered as progressive in style are not listed in the databse of www.Progarchives.com. This in order to maintain the site's scope to be a progressive rock reference.

The aim of this description is to be a tool of reference for potential and existing fans of the genre, and we hope that this will aid those who read it to a better understanding of the genre as well as to enjoy and discuss the subject at hand both in the forums of the Progarchives website as well as in other places online and offline both.


Psychedelic Rock / Space Rock team April 2010

Space rock definition by Rivertree
The boundaries of psychedelic progressive rock chapter by DamoXt7942
Other text by Eetu Pellonpää
with kind guidance and support by Windhawk


Current Psychedelic/Space Rock Team Members
as at December 2013

Uwe (Rivertree)
Keishiro (DamoXt7942)

Psychedelic/Space Rock Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Psychedelic/Space Rock | More Top Prog lists and filters

4.62 | 2910 ratings
WISH YOU WERE HERE
Pink Floyd
4.59 | 3076 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 2578 ratings
ANIMALS
Pink Floyd
4.30 | 2165 ratings
MEDDLE
Pink Floyd
4.22 | 710 ratings
OCEAN
Eloy
4.10 | 461 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.11 | 312 ratings
JURASSIC SHIFT
Ozric Tentacles
4.14 | 199 ratings
TOGETHER WE'RE STRANGER
No-Man
4.05 | 2126 ratings
THE WALL
Pink Floyd
4.11 | 220 ratings
LEGACY
Hypnos 69
4.10 | 248 ratings
RITUAL
Nemrud
4.22 | 85 ratings
UGISIUNSI
Quantum Fantay
4.05 | 399 ratings
A TAB IN THE OCEAN
Nektar
4.15 | 119 ratings
BY THE WATERS OF TOMORROW
Vespero
4.04 | 447 ratings
DAWN
Eloy
4.04 | 379 ratings
THE OCTOPUS
Amplifier
4.25 | 64 ratings
TAKO
Tako
4.17 | 94 ratings
THE FUTURE KINGS OF ENGLAND
Future Kings Of England, The
4.03 | 348 ratings
PLANETS
Eloy
4.02 | 444 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy

Psychedelic/Space Rock overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Psychedelic/Space Rock experts team

FOAM
Vespero
UGISIUNSI
Quantum Fantay
NEM TUDOM A NEVED (Ω VI)
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Ahora Mazda

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Latest Psychedelic/Space Rock Music Reviews


  La Chambre Nuptiale  by MADORE, MICHEL album cover Studio Album, 1979
3.82 | 6 ratings

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La Chambre Nuptiale
Michel Madore Psychedelic/Space Rock

Review by Progfan97402

4 stars I am really glad to have discovered Michel Madore. He only came up with two albums, Le Komuso a Cordes in 1976 and La Chambre Nuptiale in 1978. But they are very much different albums. The debut is more or less Gong-styled space rock (actually more Clearlight and Carpe Diem, as this music is much more serious), with full band interaction, and La Chambre Nuptiale is performed entirely by Michel Madore, from June 1975 to March 1978 (meaning parts of this are sessions for Le Komuso a Cordes) and released in 1978 in Canada on the KebecDisc label (which is the copy I own), and in 1979 in France on the EGG label (just as Michel Madore had moved to Paris and moved on to painting and sculpturing). The Canadian pressing actually features superior packaging as it has a gatefold where the somewhat easier to find EGG pressing does not. This album is firmly in the progressive electronic vein, and in fact it was released in France on the EGG label, where you can find many great progressive electronic albums from the late '70s. It's much less accessible, no drums, no saxophone, every instrument you hear played by Michel Madore. It's a spacy album, full of droning synths and spacy sound effects. "La Chambre. Une Vision..." finds him taking on Mendelsson's "The Wedding March" by including phasing and electronic effects, making me think it should be wedding music for Battlestar Galactica (which the original series happened to premiere the same year, 1978) but that disappears with more disturbing and ominous electronic music. This is a classic case of two albums by the same artist being so different that if you enjoyed the one album, you might not enjoy the other. Kinda like Dionne - Bregent (also from Quebec), if you like the avant garde Et le Troisieme Jour, you might not like the more straightforward proggy Deux, and vice versa. Similar thing goes on with Michel Madore. Deserving a four star for those who like off-the-beaten track progressive electronic!
 Make Believe It Real by SPIRITS BURNING album cover Studio Album, 2014
3.00 | 1 ratings

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Make Believe It Real
Spirits Burning Psychedelic/Space Rock

Review by Rivertree
Special Collaborator Psych/Space Team & Band Submissions

— First review of this album —
3 stars 'Make Believe It Real' is another SPIRITS BURNING co-production where Bridget Wishart plays an important role according to lyrics and music - a singer/songwriter artist working in partnership with Don Falcone since 2003. Yet again just about a million freelance collaborators or so are involved in the recordings. Many familiar names are deriving from the widespread Hawkwind family hereby. To bring such an amount of musicians together for the recordings would mean to achieve the impossible, hence cultivating this sort of approach in developing music - which is Don's job most likely - requires another strategy of course.

CD1 features eleven new compositions, where the second disc comprises remixes and songs that were previously available on compilations only. Generally speaken this is more dedicated to spend a relaxed one and a half hour. Apart from the synths maybe, a space rock component decreases here to the benefit of ambient, folk, jazz and lounge associated moments. Accordingly Bridget is not acting like a standard rock singer, her voice is rather charming, more ethereal, restrained, not pushing at all. Also, well-known for being in control of a EWI synthesizer she's contributing a lot here while generating diverse wind instruments. On top of it the cover artwork is developed by her too.

Technically seen this is flawless, as everything what is worked out by Don's hands music-wise, no doubt. A lot of details are to recognize again. And the album is far from being overproduced, regarding such a bunch of different contributors. However the compostions can't seduce me all the way through. The extended fok/chamber drenched Reflections suite for example can't touch my soul, probably designated as the album's centerpiece and certainly produced with heart and mind. A matter of taste of course. On the other hand, featuring Alan Davey's (bass) and Jay Tausig's (guitar) ambitious share, I like the powerful Eternal Energy that much.

Luckily the bonus tracks on CD2 are considerably improving the whole production, starting with the space rock genre typical Always. Or just following the wonderful triphop flavoured Iceflow which comes Lunar Dunes reminiscent. And finally Chain Of Thought evolves to another captivating exemplar. This album may find some fans, especially those who are oriented at Bridget's appeal of course. Anway, I would prefer other SPIRITS BURNING productions though. Apart from that - and this will round up my rating in the end.- for me it's still awe-inspiring to observe how this collective is realizing the process of developing music.

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.62 | 162 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by poslednijat_colobar
Prog Reviewer

5 stars The missing album

What a breath-taking Pink Floyd album! In fact, I've been waiting for that album all the time. It's true example of the missing link in Pink Floyd's creativity. The mighty englishmen's electronic and instrumental reputation is highly renowned, but intended or not, they have not produced exactly that kind of album so far. And the time for final goodbye has come... David Gilmour and Nick Mason, with recordings from Richard Wright, have approved their electronic and instrumental reputation once more, but this time focused on the whole record CD. The incredible Pink Floyd sound makes the record much more typical Pinkfloydish, than quite many other albums of their. Typical space rock sound from 1971-1975 returns for good. The Endless River is a balanced album of non-leader shape, in terms of songwriting and musicianship, what we haven't seen since 1975's Wish You Were Here. The music is what some fans dreamed of so long - instrumental electronic space progressive rock! Great epilogue of Pink Floyd's career and mightest release since Wish You Were Here!

 II by DEEP SPACE DESTRUCTORS album cover Studio Album, 2012
5.00 | 2 ratings

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II
Deep Space Destructors Psychedelic/Space Rock

Review by Lear'sFool

5 stars Deep Space Destructors are a Finnish space rock band with a few good tunes to share. This second outing is a wonderful trip through a take on space indebted to 35007 and some of the mores of classic rock, with singing reminiscent of Alice in Chains, only often leaning towards sounding like the vocals of a doom metal band. "Beneath The Black Star" starts off by nicely showing off their unique take on this group of influences, with a willingness to go from mellow and even atmospheric to somewhat darker and harder riffs. Each track hence then mixes up the style at least a bit, with "Spacy Phantasy" eschewing their mellow side, and the concluding track, "Sykli", leaving behind their usual English lyrics to break out their native Finnish. All in all an excellent album, with the band putting out great work early in their career. Recommended.
 Transmissions From Telos Vol III by LUMERIANS album cover Studio Album, 2014
4.00 | 1 ratings

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Transmissions From Telos Vol III
Lumerians Psychedelic/Space Rock

Review by Rivertree
Special Collaborator Psych/Space Team & Band Submissions

— First review of this album —
4 stars Tyler Green and his colleagues are in good company with the Electric Orange crew somehow, if only because they are also placing riddles, as there is the wondrous order to mention concerning their 'Transmissions From Teleos' series for example. And the facebook page briefly reports this Oakland based oufit playing doom jazz ... okay ... maybe ... I'm not sure if they really take this seriously though. However, probably this is put to reflect the direction of development music-wise in general?

Just in good tradition already 'Transmissions From Telos Vol III' marks another LUMERIANS release which is solidifying a preference on a keyboard emancipation. Yes, again the synths rule, electric guitars are mostly reduced on some rhythm work, just in case of a (definitely nice) side effect more or less. Composed of four tracks their new album is admittedly hypnotic, assigned with a trance vibe, which usually means a clear reference to the related space and kraut rock genres. Playing decidetly monotonic, a strong rhythm fraction builds the band's backbone, like being on a perpetual loop.

Despite or maybe even just because of the hypnotic flow this album is a pleasant relaxed listen, equipped with four very melodic explorations. By way of example let me highlight the captivating Turiya - a halting slow-tempo exemplar - which is departing from the plan a bit, quasi showing synth and guitar enjoying emancipated rights. This sounds close to, or is - as for the approach at least - comparable with German neo kraut bands Camera and Electric Orange. Recommended - fantastic to notice that they do not run out of inspiration.

 Trip Hazard by BROTHERHOOD OF THE MACHINE album cover Studio Album, 2014
3.94 | 3 ratings

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Trip Hazard
Brotherhood Of The Machine Psychedelic/Space Rock

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

4 stars Breaking the spell

I have to be honest: when I first heard this album my mind instantly conjured up images of Tangerine dream ca 1973. The analogue synthesisers and wonderful sticky organs almost screamed Phaedra in my ears, yet for some inexplicable reason I found it increasingly hard pinpointing exactly why that was. Over the last couple of weeks though I've come to the conclusion that while Brotherhood of the Machine quite openly employs the same kind of gear you'd find in those early days of Tangerine Dream, you'd be hard pressed to find any other similarities between the two.

It's the same problem most bands face when they start incorporating acoustic 12 string guitars and mellotron into their work. People yell GENESIS at the top of their lungs and the band in question very quickly receives a rep of being one of those inferior sounding clone bands that never really sounds as great as the big Kahuna - the real McCoy. Well....there are certainly hundreds of Genesis and Tangerine Dream clones out there, so I guess there is something to be a little wary of when facing new acts with strong ties to either progressive electronic or symph prog, but, and I must stress this, it is a real shame when something extraordinary comes along with but a mere hint of the olden days that instantly gets thrown in the copycat bin, because some dude over the internet believes that certain sounds and instruments shouldn't be allowed outside maybe two or three bands, as they were the first ones to employ them.

While Brotherhood of the Machine does implement the kind of esoterically charged and hazy feel of ze Germans and their equally riveting sense of improvisation, you still get music that stands proudly on it's own two feet....yeah well maybe that's a poor analogy, as most of the material featured within Trip Hazard is the kind of saucy moonlight batter that'll have you floating out among the stars with huge teacup eyes and the milkyway streaming through your toes like a sensuous interstellar liquid. Fact of the matter is that I've finally come across a modern electronic/psych band that sounds old and analogue in all the right places - yet without ever losing it's own persona.

Starting off with Meditation of the Blue Serpent, Trip Hazard lures you into a slow moving ouverture with a simple hand drum pattern, electronic carpeting (like in thick cashmere rugs and prog rock beards from the 70s) and this deep melodic saxophone that very eloquently takes you by the hand while evoking pictures of sand dunes and Middle-Eastern bazaars. The feel is enigmatic, larval and pensive like a man contemplating what the heart of the mountain really looks like.

After this wonderful welcoming the album unrolls it's piece de resistance with Hin und Zuruck. With it's 36 minutes of delightful delirium it, perhaps inadvertedly, challenges today's music fans and their short attention spans - hopefully taking them prisoner in a beautiful dreamscape where music that pulses, writhes, contorts and floats with time transforms into something completely different - something I find electronic music does with great gusto and conviction: elegantly and with much ninja-like behaviour erasing the need for the tangible and straightforward in music. The hypnotic and almost stroboscopic gestures of the synths slowly but comfortably work their way into your mind and after a while you sense a change - you feel ripples multiplying in your inner head lake and suddenly the music echoes from within you and the very line between the sounds and you vanish, disappear. Hin und Zuruck very eloquently showcases this slippery idea of mine, and to anyone interested in the arts of meditation and the ever persuasive wormhole of the mind, please take a chance with this thing. When it works and you really disconnect your brain-seatbelt, you change or metamorphose and go from the hard surface-like structure of the human body to the sparkling and flowing entity of a white rolling river. If that's too far out for you, then imagine the modern US Electronic duo of Zombi and their combination of rock and Electronic, only here conveyed in an old school analogue dressing.

A lot of people have a hard time getting into this kind of thing - especially folks coming from branches of music that revolve around the guitar and a noticeable drum beat. Well even for those poor souls it seems as if Trip Hazard could be the gateway drug into the electronic genre, as you get wonderfully charismatic guitar playing as well as some beefy drum kit action to boot. The latter though most likely generated by a computer......but it does what it's supposed to, which is to infuse a bit of wild and reckless rock attitude into the mix - something that pours gasoline over the electronic embers and suddenly you see hightowering flames licking sensuosly at the clouds. Still, I would've loved to hear this album with real drums - y'know the ones that exude natural warmth, the oak tree note as I'd like to call it.

I'd recommend this album to anyone into psychedelic music and sure to fans of Tangerine Dream and Klaus Schulze - just don't expect it to sound the same. This is music for tunnel-digging in your head - for watching cloud movies in the sky - shooting the breeze without bullets and perhaps most importantly: for proving to the world that similar sounding instruments don't necessarily equate to clones.....but sometimes, rare as it may be, lead you into altogether new sonic avenues.

 Music Is Painting In the Air (1974 - 1977) by SENSATIONS' FIX album cover Boxset/Compilation, 2012
4.44 | 7 ratings

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Music Is Painting In the Air (1974 - 1977)
Sensations' Fix Psychedelic/Space Rock

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars Ah, compilations! The obligatory contract-fillers for many bands, lazily put together with little care or love, and with a couple of throwaway bonus tracks slapped on the end as a cheap way to squeeze a couple more bucks out of your faithful followers, what good are they? Well, Franco Falsini, main man of Italian space-rockers Sensations' Fix, bucks the trend and offers a highly desirable and worthwhile assortment of thirty pieces compiled from the early to mid 70's years of their recordings, as well as unreleased tracks and related material from his own solo music. Entitled "Music is Painting in the Air (1974-1977)" and spread across two compact discs, although there's short gaps between tracks, all of the pieces take on a gentle, continuous flowing atmosphere, and it's the perfect overview of their wondrous music.

Many of the works included in this set have been slightly remixed and brought up to date with modern techniques, but they never lose their vintage magic, instead taking on a richness and fuller sound that they never had before. Admittedly calling Sensations' Fix a `space-rock' band is selling them a little short, as they work so many other subtle styles into their fragile and euphoric music, very much in evidence on this set. Primarily instrumental, some tracks have been subtly remixed from their original studio versions, so knowledgeable fans of the band will enjoy hearing what little touches have been added to the compositions. Tracks like `Leave My Chemistry' from `Portable Madness' have been beefed up with extra heavy snarling bass, and the eerie deep-space of `Left Side of Green' takes on even more unease with it's relentless bass.

`Scraping Delay' is a dazzling pretty starfield set to music, `Cosmic Saudade' a phasing liquid drone, `Warped Notions of a Practical Joke' an acid-country drowse. `Chelsea Hotel Room' is a machine-like brood, `Strangelands' sounds like a harsh electronic nightmare, and the light ethnic flavours mixed with electronics during interlude `Overflowing Ashtrays' remind of German band Agitation Free. The melancholic chiming guitar and bass ruminations of `Acudreaming' is hypnotic, the up-tempo guitar victories alongside tasty Moog ripples of `Fragment of Light' take flight, and there's an uplifting floating hopefulness to `Into The Memory'.

Of the few vocal pieces that show up occasionally, `Grow On You' is a loved up grooving acid-rocker, `C'E Nessuno' a warm Italian-sung acid-folk acoustic ballad, `Dark Side of Religion' a sighing thoughtful reflection, `Cold Nose Story' a wilting lullaby laced with melancholy, `Fortune Teller' a wasted psychedelic ballad.

Included in the mix are some absolute Sensations' Fix classics such as the dramatic `Map', with it's confident acoustic guitars gliding over subtle synth washes, the joyful and positive foot-tapping `Music is Painting' seems like the soundtrack for loving life itself, and `Crossing Berlin' is, with that title, unsurprisingly is a longer pulsing electronic soundscape in the manner of the early Klaus Schulze albums. Also especially precious are the trickling pretty ambient washes from the various fragments of Franco's electronic classic `Cold Nose' album sprinkled around the two discs. Strangely, Franco chooses to close the album with an assortment of unreleased `Darkside' pieces that are supremely gloomy and tantalising alien electronic pieces, quite daring after a run of joyous and more likeable tracks in a row just before it.

Housed in a unique cardboard pouch that includes two CD slipcases and a lovely booklet, it simply reinforces what a special and precious release this is. Despite much of it being over forty years old, their music hasn't dated at all, is frequently daring, evocative and still effortlessly cool. But best of all, `Music Is Painting...' never comes across as a cynical cash- in compilation. It truly is a labour of love for Franco Falcini and his band, with each piece being carefully considered and arranged in an order to offer as much gently unfolding musical bliss as possible, and the production tweakings means this music sounds better that ever. With only a few Sensations' Fix albums having been reissued on CD, this compilation is the easiest and currently best way to enjoy their music. It's also the ideal start for curious listeners, and hopefully it paves the way for a full set of Sensations' Fix album reissues in the near future.

Five stars for such timeless beautiful music.

 Syndestructible  by SYN, THE album cover Studio Album, 2005
3.43 | 31 ratings

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Syndestructible
The Syn Psychedelic/Space Rock

Review by GruvanDahlman
Prog Reviewer

3 stars To say that that The Syn is space rock seems is far fetched, I think. This has very little to do with psychedelic or space kind of rock. I do not know how they sounded back in the 60's but this is, sort of, now and not 1967. On the other hand I would definately say that this is highly competent, enjoyable and intriguing pop-prog in the sophisticated end of the stick. I would probably go for cross-over, on the basis of this album.

Chris Squire needs no introduction. His precense is evident due to the rumbling bass lines. That is a very endearing piece of the puzzle named The Syn. I come to think of bands like 10CC when hearing the some of the harmonies (as in "Reach outro"), Supertramp in the fine mannered approach to prog and pop. There are also traces of the rock music of Fleetwood Mac, I think. If one combines all these elements I think you will get a somewhat clear view of what the band sounds like.

Every song is very well crafted and leaves a sombre, mellow taste in the musical pallet. There are no huge outbursts of haard rock or anything in the manner of, say, Yes. Instead it is polished and pensive. Very emotional and beuatiful.

I came across this album in 2006 or something and I have been coming back ever since. It is not very complex but brilliant in it's seemingly accessible and easy-going attitude. I don't mean "easy- going" as in jolly, more in the sense that the musicians obviously are so talented that the music came to them easy enough. "Cathedral of love" is good example of The Syn's effort. A chorus- laden, little BIG song. It seems immense, now listening and reviewing. It is, literally, like standing in a cathedral, staring up into the dome and being showered with the blessing of Music. It is very impressive, actually. Another one of these great tracks is "Golden age", where Squire's rumbling really comes to the fore. I believe this is the song I have listened to the most. It is a very driven song, with a great pace and energetic flow.

You can't really pick out a song that is superior to the other in structure or manner of construction. Every song bears the experience and competence of it's makers. And still I find myself thinking that the album moght not be all that exciting and bold as I perhaps seem to make it. After all, the songs are similar to each other. I could have wished for more variation and tone. I mean, this is brilliant. These songs are not by some amateur, these are all professionals. Obviously it's great but I think one has to look at the entire picture to fully enjoy the scenery and I find myself less intrigued the longer it goes on. I do think that the album holds some truly amazing moments, I just wish something would bring me out of the hypnosis and back to life.

In conclusion I think that this is a good album, showing both a vigor and a vibrant tone but it fails to fully engulf me. Three stars.

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.62 | 162 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Bottlehop

4 stars It's a very difficult thing to do an honest review of a band whom I have held in such reverential esteem for such a long period of time. The very first time I got stoned, the person I was getting high with pulled out this rather psychedelic L.P and said " you gotta listen to this ". It was 1969 and Ummagumma had just been released and from that moment on in my altered state of consciousness I knew I had found " Sanctuary ". I say that because the music took me to beyond any place I could ever have imagined, and the Sanctuary was that I knew that I could return there simply by buying that L.P and playing it whenever I needed to escape there again. As I got older and Pink Floyd released more albums my love for this band increased and it would seem that they could do no wrong. Then, just as it seemed this was going to go on forever, life caught up with them and Roger left the band. It appeared to be just a minor hiccup at first because the next couple of albums without Roger were on par with the best Pink Floyd had turned out previously. Then the inevitable happened. The drought. Those long lean years with nothing original being released. Just those endless re-releases and best of albums that all dying bands do. Still I kept the faith. Hoping one day there would be one last album. Rick Wright died. I cried for weeks playing his solo albums with the realization that there would definitely never be any new Pink Floyd music. To fill a hole I listened to all the tribute bands and got quite a lot of satisfaction for a few years just listening to how some very talented artists treated my beloved Pink Floyd songs. But as good as some of them were, it was just not Pink Floyd. Then earlier this year 2014 rumors that there was going to be a new Pink Floyd album. A teaser track released " Louder Than Words " And so it came to pass. The Endless River. A secret cache of unreleased bits not used on The Division Bell album, put on a defibrillator and magically bought back to life with all the skill Dave Gilmour, the band and production crew could muster. At first I didn't like it. I actually hated it. I looked at the track list and saw so many short tracks. On an album with 18 tracks 9 of them are less than 2 minutes long. So there is no having this on the Ipod and having it set to shuffle music because the chances are you are going to get a very short song that really means nothing and is over before you get into it. To enjoy this album you MUST play the whole album through, only then will you get the full enjoyment of it. Then all those short tracks blend in together seamlessly forming what seems to be a 40 minute song. All in all it's just another brick in the wall and this album will be remembered by Pink Floyd fans as such. A word of warning for anyone thinking of buying the DVD of this album. 90% of the DVD is a blank screen with the title of the song being played in white letters across the screen. The music is 5.1 SURROUND and perfect. Right at the end there's some video footage and still pics of the band but they are what looks to be from a cctv placed in the corner of the recording studio. I found this to be very annoying and spoils the whole thing. There are however some very precious images and video of Rick Wright playing what was obviously all those years ago. This was the only redemption for this DVD.
 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.62 | 162 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by David Luddington

4 stars As a long term fan of Pink Floyd, right from Sid Barrett's days, I am somewhat disappointed by this offering. Without the poetic vocals or constrained angst, this is melancholic ambiance and seems to be a pale copy of the early Floyd. One wonders why they released this as a Pink Floyd album? They clearly didn't do it for the money and knowing Gilmour it's likely that a large chunk of any returns will go to charity anyway. The structure of the compositions seems to be a deliberate attempt to bookend their career so maybe this is just a simple message that this time, it really is the end. In an interview with Gilmour and Mason they said this was a tribute to Richard Wright and it is certain that his influence is all over this. However, if they truly wanted a tribute to Wright, would it not have been better to release this as a Richard Wright album, perhaps with the proceeds going to a cancer charity? That would, I feel, have been a more fitting tribute to a great, and sadly missed, man As a piece of music it is accomplished, polished and professional. But to me, it's not one that makes me want to drop everything I'm doing to sit down and listen. This certainly has more in common with On An Island than Dark Side of The Moon, which is not to say that's a bad thing, I love Gilmour's guitar wherever it is! But if you are looking for something closer to the classic Pink Floyd sound then I think that bands like Airbag or Freedom to Glide are somewhat closer. Overall it's a good album but had it appeared with an unknown band I might have passed it by with just a cursory listen.
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AME SON France
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ANTA United Kingdom
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