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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 | 2849 ratings
WISH YOU WERE HERE
Pink Floyd
4.59 | 3003 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 2519 ratings
ANIMALS
Pink Floyd
4.30 | 2109 ratings
MEDDLE
Pink Floyd
4.22 | 692 ratings
OCEAN
Eloy
4.10 | 454 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.11 | 309 ratings
JURASSIC SHIFT
Ozric Tentacles
4.14 | 197 ratings
TOGETHER WE'RE STRANGER
No-Man
4.05 | 2069 ratings
THE WALL
Pink Floyd
4.08 | 435 ratings
DAWN
Eloy
4.11 | 214 ratings
LEGACY
Hypnos 69
4.18 | 116 ratings
BY THE WATERS OF TOMORROW
Vespero
4.06 | 402 ratings
A TAB IN THE OCEAN
Nektar
4.04 | 385 ratings
THE OCTOPUS
Amplifier
4.26 | 62 ratings
TAKO
Tako
4.04 | 341 ratings
PLANETS
Eloy
4.05 | 247 ratings
RITUAL
Nemrud
4.16 | 92 ratings
THE FUTURE KINGS OF ENGLAND
Future Kings Of England, The
4.02 | 437 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy
4.16 | 83 ratings
UGISIUNSI
Quantum Fantay

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

AHORA MAZDA
Ahora Mazda
LAST DAY OF SUN
Kalutaliksuak
CSILLAGOK ÚTJÁN (Ω VIII)
Omega
HORIZONTE DE SUCESOS
Bëiruth

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Latest Psychedelic/Space Rock Music Reviews


 Remember The Future by NEKTAR album cover Studio Album, 1974
3.89 | 341 ratings

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Remember The Future
Nektar Psychedelic/Space Rock

Review by apps79
Special Collaborator Neo Prog Team

3 stars Third album by Nektar ''...Sounds like this'' was released in 1973 and was a somewhat jamming effort with countless psych soloing on guitar and organ, leading to controversial critics and mixed reviews.Apparently they were compared to Man at the time, a band with which they travelled in England and gained a contract with the United Artists label.''...Sounds like this'' was also the first work of Nektar to be published in the States, followed in 1974 by ''Remember the future'', the fourth overall work of the band, which saw Nektar visit UK and recording the album at the Chipping Norton Studio in Oxfordshire.It was a concept effort, dealing with a blind boy, who comes in a touch with an extraterrestrial.The album was released on Bellaphon in Germany, Passport Records in the USA and United Artists in the UK.

This was a much more melodic offering by the band, showing a return to the sound of ''A Tab in the ocean'', albeit in a less grandiose and powerful package.The album consists of two long epics, placed in each side of the original issue, the 17-min. ''Remember the future part I'' being propably the best of the two.It sounds like the past and present PINK FLOYD sound mixed with some GENESIS symphonic overtones in the opening organ themes and a few YES touches in the quirky guitar parts.But most of all this is very good Psychedelic/Prog Rock with a deep sense of melody, written with the unique style of NEKTAR, offered in mid-paced grooves, polyphonic harmonies and changing climates, where laid-back tunes meet groovier and more emphatic passages, built on guitar and keyboards, closing with a great psych jam on organ and guitars.Very tight and convincing stuff.''''Remember the future part II'' is a bit more diverse and progressive in sounds and sights, it goes from a melodic, almost Canterbury-styled Prog Rock in the vein of CARAVAN to a dynamic organ-based style in a Kraut Rock enviroment and every possible range of power inbetween, always revisiting some of the PINK FLOYD-ian moods and even flirting with the more spacey stylings of HAWKWIND.Again the music is led by the solid rhythm section, the personal guitar touches of Roye Albrighton and the omnipreesent organ of Allan Freeman , being mostly pretty melodic and rhythmic with soft textures and occasional harder moves.While the result is not always great, you can't do else than admire the cohesion of Nektar's music, the arrangements are very compact with impressive twists between more complex instrumentals and mellow tunes.

Pretty cool stuff, one of the albums, where the epics seem to last shorter than their actual length due to the impressive musical cohesion.Solid Psych/Prog in the vein of PINK FLOYD, CARAVAN and HAWKWIND.Strongly recommended...3.5 stars.

 Live at the Pongmasters Ball by OZRIC TENTACLES album cover Live, 2002
4.76 | 51 ratings

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Live at the Pongmasters Ball
Ozric Tentacles Psychedelic/Space Rock

Review by Approgximation

5 stars Ozric Tentacles have always been one of those little hidden gems you absolutely wished no-one else knew about, that you could hold close to your heart and barely share with any other aficionados. They are a highly under-rated, under-valued UK band. An extremely layered group, lively encompassing the space-rock, psychedelic-prog-rock, fusion-jazz, psytrance-electronica genres to clearly illustrate their under-estimation. And ALL of these traits are evident in the Pongmasters DVD.

Ozrics have never considered themselves as a serious band, however dousing yourself with your favorite 'poison', and settling down to Live at the Pongmasters Ball changes that perception all together. This DVD will spell bind you from front to back, having you fumble for the second disk in an attempt to get it into the player, show uninterrupted. First observation of this masterpiece should, through well experienced advise, be witnessed alone. Interruptions other than replacing the first disk with the second should be at absolute zero.

The band warms up slowly while you wonder whether this review was accurate in it's pro-actively positive assessment. This changes when the band members find their niche and the collaboration awakens to what can only be described as a frenzy of masterful improvisation. Layering of sound scapes are well vibrant. Each time you encounter this Ozrics work, you see and hear something you never came close to in a prior viewing, making this DVD one that can be watched repeatedly without self demise.

In full ensemble, Ed Wynne seems to play selfishly regardless of the other members presence, but this seems also the case regarding the other members. It is this sense of almost disarray that makes this collaboration an absolute delight to watch. Each members' musical 'opinion' makes its own self-stated expression as if each one is more important than the next, yet the musical battle among each other is nothing short of explosive and highly engrossing. Keeping up with any one of the various complicated layers can be difficult as you are drawn to the absolute talent of each member. This only strengthens your devotion toward watching this all over again.

Visual aspects light up your senses as they are engulfed with masses of colour. Multi-angle camera points make you a part of the arrangement. Little of what was done by way of big-band ensemble on this DVD is seen elsewhere in the Ozrics catalogue. Walking away from the experience is just that. Its an experience little else can familiarise yourself with.

 The Black Tomato by ŘRESUND SPACE COLLECTIVE album cover Studio Album, 2007
4.11 | 42 ratings

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The Black Tomato
Řresund Space Collective Psychedelic/Space Rock

Review by Approgximation

4 stars The Black Tomato album is a well coloured arrangement that listens like a recurring story. It fades in and fades out leaving an overlap that will have you happily scrolling over this album front to back over and over. The multi-artist line-up deliver an engrossing collaboration of sounds that have earned the band the Space-Rock, Prog-Rock genre it deserves.

Here Řresund Space Collective experiment with oblique structures of sound integrating them intricately. They approach the collaboration of sounds like a biologist analysing each organism of sound and meticulously weaving them into each other. The arrangements are multi layered yet highly collaborative sounds that excites the ears to no end. The prog approach of Řresund Space Collective is light to medium allowing more for the recognition of the space-rock aspect, yet the 'play' on its structuring keeps the listener well attached to their message. Though a mild push of prog, the collaborative method gives the impression toward an honest and true-to form loyalty of a more classic era.

Pushing familiarity of the past, sounds hinted with the ol' Hammond organ (Doors) conservatively layer the sound for that classic prog feel. Heavy echoing, overdrive and Wah-Wah peddling guitars (Iron Butterfly) also draw to a bygone era that was classified by its stylistic arrangement of sounds at the time. Modern keyboard euphoria (Hawkwind) emphatically states the space-rock genre intent. Percussion is a major driving factor accompanying alongside a very active guitar make-up.

Almost typical of space-prog-rock, tracks are elongated so as to travel you to another place while only remaining seated in your favourite observation post. Coming to the end of any of the 9 tracks is akin to arriving at your physical travel destination of a long distance trek as if it were only a few minutes.

 Incredible Good Fortune by 3RD EAR EXPERIENCE album cover Studio Album, 2014
4.04 | 4 ratings

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Incredible Good Fortune
3rd Ear Experience Psychedelic/Space Rock

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

4 stars When I'm in touch with Robbi here and there, hey, it's always a pleasure to notice what a positive and open-minded attitude he's going to express. 'Incredible Good Fortune' must be the key term for that - being at peace with the world and yourself, so to say - at least temporarily without any reservations. And this obviously includes having much fun when playing at Shakti Festival with Amritakripa's band for example, or recording jam sessions together with his friends down there right in the Mojave Desert. Hereby 3RD EAR EXPERIENCE is more of a project than a band. What means the line up is always in progress, more or less.

As a consequence the musical output essentially depends from the situation, the atmosphere, the mood .. and of course which musicians are available (or not) currently, simple as that. That's the reason why bassist Dug Pinnick is missing on this production and latin american rooted Jorge Bassman (who else, eh???) joined the task force. Well, they did it again, the third album from that extraordinary crew in the meanwhile. I like the colourful art work. But first of all this is a clever mixture of pre-arrangement and improvisation, I would say, you can listen to over and over again without being bored. The full range between hell and heaven - tightly packed with a running time of nearly 80 minutes.

Besides the glowing guitar input all over, this is featuring a powerful as well as tribal rhythm section, well placed synthesizer add-ons, Alan Swanson's virtuoso organ, spaced out saxophone by John Whoolilurie aso aso ... Tools opens this fortunate trip with melancholic guitar, a song rich in variety while enclosing floating as well as heavy rocking parts, even put with headbanging qualities. On Parsley Amritakripa offers some intriguing Indian chanting, though on the following White Bee changing to a transcendental or maybe even alienated expression when speaking in cosmic terms. Fantastic guitar presence here towards the end of the song!

Space Rock at its best, powerful and expressive more than ever, garnished with some ethno feel and several traces of Robbi's former band TRIBE AFTER TRIBE. With 'Incredible Good Fortune' they have succeeded in landing a new coup. Go and see for yourself - experience coupled with inspiration is an invincible amalgam. First contact? If not already happened, now at the latest it's time to get in touch with this crew - or freely adapted from Steven Spielberg - time for the Fortunate Encounters of the 3rd Ear Experience - 4.5 stars.

 Classic Albums: The Dark Side Of The Moon by PINK FLOYD album cover DVD/Video, 2003
4.06 | 145 ratings

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Classic Albums: The Dark Side Of The Moon
Pink Floyd Psychedelic/Space Rock

Review by Guillermo
Prog Reviewer

4 stars This is a very good documentary about the making of PINK FLOYD`s "The Dark Side of the Moon" album. This is another official video like the one the band did for their "Wish You Were Here" album. It has interviews done with David Gilmour, Nick Mason, Richard Wright, Roger Waters, Storm Thorgerson, Alan Parsons and others. It shows an almost track by track (the two exceptions are "Speak to Me" and "Any Colour You Like") description and explanation of how the songs were conceived, and sometimes Waters (the lyricist and the main creator of the concept of the album) gives some explanations about the meaning of the lyrics. It is also a good video because despite the split with Waters in 1985, each member of the band has very good memories about the making of the album, saying that the band was really working as a band and as a team while recording the album, and there are even some good commentaries about each other member`s talents (Gilmour says that the main force behind the album was Waters; Waters praises Wright`s keyboard parts and compositions particularly in "The Great Gig in the Sky" and "Us and Them"; Waters praises the combination of Gilmour and Wright`s vocals; Mason says that the band worked then very well together...). Recording engineer Alan Parsons (why the band did not carry on working with him after this album? This is one of their best recorded albums, in my opinion) is also praised for his work in the album, and he also explains some technical things about the recording of the album. Storm Thorgerson explains how he designed the album`s cover. Waters says that the band still worked very well for this album because they still had the same goals ("to become rich and famous"). As a whole, the interviews are very entertaining, showing personal harmony between the four musicians despite their old legal disputes which derived from the split of Waters in 1985. And this documentary really shows why this album is still very respected since being released in 1973. It still is very relevant despite the passing of time.
 Oxhuitza by OXHUITZA album cover Studio Album, 2013
3.52 | 29 ratings

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Oxhuitza
Oxhuitza Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

3 stars OXHUITZA is the project of one Luca Bassignani who is the guitarist as well as the composer of all the music here which is all instrumental. Fabio Zuffanti who needs no introduction produced it and helped arrange the music. This is a five piece Italian band with an interesting sound with those often powerful guitar passages combined with a variety of keyboards including Fender Rhodes, Mellotron, Minimoog, Hammond and more. The cover art is incredible but the art work on the cd and liner notes seems to clash with it being purple and blue and seemingly out of place. The music which of course is the important thing is a little inconsistant to my ears but there are some amazing passages, especially the atmosphere and dark mood that is often prevelant.

Up first is "#01" which is spacey to start before it kicks into gear quickly with an uptempo driving sound. Organ before 2 1/2 minutes joins in for a while then it settles back before 4 minutes but it's still fairly heavy. Some nice guitar and mellotron here. It sounds goofy 5 minutes in to the end but it's a good track for the most part. "Luna Di Maggio" is uptempo with synths out front pulsating. The synths become spacey as it continues to be fast paced. The organ takes the lead then the pulsating synths return like before. A dead calm follows and I love the mellotron after 3 minutes, then it kicks back in. "Nervi In Fibra Ottica" sounds really good as we get a dark mood with a beat, flute and more. It turns powerful 1 1/2 minutes in but the contrasts will continue. Check out the mellotron before 3 minutes. This is my favourite track.

"Kirky" has a cool sound to it as it's somewhat dark and at times powerful with piano coming and going. The synths lead before 2 minutes and there's a much better sound a minute later with flute but then the synths return quickly. Not a fan of this part. The piano and mellotron sound great though 4 1/2 minutes in. "Pixel" is heavy duty to start but it settles right down. I like the flute and guitar here. A Swedish vibe 4 minutes in then it turns heavy with riffing guitar and mellotron. The synths before 5 minutes are annoying. "Mano Di Luna" is my second favourite tune and the longest. Lots of mood and tempo changes on this one. Strummed guitar after 2 1/2 minutes as it brightens. Piano joins in then it turns haunting before 4 1/2 minutes. Amazing sound 6 minutes in with the guitar playing over top. An eerie ending as the album ends like it began.

I can't pull the trigger on 4 stars as I have too many issues with this despite the fact I really enjoy much of it.

 Master Sleeps by HILLS album cover Studio Album, 2011
3.82 | 63 ratings

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Master Sleeps
Hills Psychedelic/Space Rock

Review by Epignosis
Special Collaborator Eclectic Prog Team

3 stars Those with an appetite for hypnotic murmuring and percussion, fuzzy, vast-sounding guitars, and melodic repetition should acquire Hill's Master Sleeps. Staples of the space-rock category are here in abundance.

"Rise Again" The long sweeping flanged guitar creates the "cosmic-wind" through which the percussive music is funneled.

"Bring Me Sand" Although the guitar ventures into the exotic, the determined beat provides a 1980s feel. At any moment I was expecting Kate Bush to open her mouth, and that would have been far more enjoyable than the stream of screeching noise wrestling in the foreground.

"Claras Vaggvisa" Thin organ tweets alongside a dirge of steady bass and drum as distant voices call out.

"The Vessel" Again emphasizing the expansive guitar, "The Vessel" moves with a steady rapidity.

"Master Sleeps" Dipping a toe into the muddy waters of blues rock, the title track features a motif laden with low guitar bends. Much of the piece consists of tonal simplicity, depending on subtle shifts and variations.

"Death Shall Come" Electronic droning and otherworldly chanting leads the listener into an exotic space temple, a sonic ritual marrying the ancient forgotten ways to the technology of tomorrow. Although somber and murky, the piece is more varied than its brethren.

 Organic Earthly Flotation by ŘRESUND SPACE COLLECTIVE album cover Studio Album, 2013
3.76 | 9 ratings

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Organic Earthly Flotation
Řresund Space Collective Psychedelic/Space Rock

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

3 stars This is way more relaxed than many albums beforehand, the groovy, partially jazzy vibe is nearly gone here, except on the closing Neptune Rising maybe. And indeed, the line up saw a major change, as there is the complete PAPIR crew involved this time, additionally Americano Daniel Lars, who had his first trip ever to Denmark for playing with the ORESUND SPACE COLLECTIVE. Only synthesizer wizzards Mogens and Scott (Dr. Space) are staying, acting restrained though, 'Organic Earthly Flotation' is yet another album which works more guitar laden.

Walking On Clouds manifests in two sections, originally developed by Daniel, that means you can't really say that the music is completely improvised. Backed by a solid rhythm branch this is smooth, cheerful, featuring nice inspired guitar interplay, partially enriched with spacey patterns as well as chirping synths. Not quite a spectacular album - as I'm familiar with the complete studio discography - but surely something to dig. 'Organic Earthly Flotation' again proves their ambitious approach to update the sound with every entirely new production.

 Terragaia by QUANTUM FANTAY album cover Studio Album, 2014
3.72 | 62 ratings

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Terragaia
Quantum Fantay Psychedelic/Space Rock

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

4 stars A race around the world, a detour to the ancient East and a trip to deep outer space pretty much sums up spacerockers Quantum Fantay's approach perfectly! The band take ideas and themes similar to bands such as the Ozric Tentacles, Hidria Spacefolk and even a dash of Hawkwind, but add plenty of their own individuality, mostly in the form of frequently up-tempo melodies, more typical progressive rock styled epic guitar soloing and little surprising moments of crisp Neo-prog styled keyboard sheen and sophistication. Their fifth album `Terragaia' may not set out to reinvent the sub-genre, but you'll hopefully be enjoying the all instrumental sounds too much to notice!

Opener `Journey to Earth' offers some creeping, maddening alien menace that perfectly compliments the moody cover artwork, as oceans of ambient synths, ferocious drumming, aggressive bass, glistening flute breezes, chiming reggae guitars and dub beats with heavy guitar blast attack the listener. Some lighter sounds drifts through `Azu Kene...', playful electric guitar licks dance around percolating emulated marimba Pierre Moerlin's Gong-like sounds, then the ancient world meets modern electronics in the dazzling and relentless `Desert Rush', all rippling synth bubbles and whirling dervish manic electric guitar riffing. `Aargh' is a Moog/synth driven Celtic jig that darts back and forth in tempo, only sadly let down by lack of a real ending. There's lots of tension and perfectly executed builds in the ancient eastern drama that pervades `Instant Karma', with droning tablas, hypnotic female chants, sitar and some delirious nimble acoustic guitar runs.

Unsurprisingly, Oriental themes race through the plucky `Chopsticks an Gongs', mysterious koto and tranquil flute twisting between heavy searing electric guitars, loopy synth spirals and murmuring bass that glides like fluid. `Indiegofera' is more meditative and ambient, droning didgeridoo and deep throated tribal groans with some very subtle groovy mellow electronics.`Yah Roste Fooroap' is a nice slow-burn reggae/dub piece mixed with German band Eloy's weeping lost- in-space `Silent Cries and Mighty Echoes'-era styled synths. Outer space goes Wild West in `Cowdians' , harmonica and banjo duelling it out with inspired electric guitar soloing in the slightly cheesy first half, but the dance beats, glistening tip-toeing electric piano run and a soothing Camel- like flute outro save it. `Journey From Earth' closes the album more in a symphonic prog manner, several lush and grandiose synth and keyboard themes that alternate between stirring and frantic to blast us back into space once more.

Some will likely feel Quantum Fantay are not offering the most original take on the spacerock style, but the album is still a perfectly enjoyable and well-performed work. `Terragaia' offers listeners ten tracks of colourful, atmospheric and carefully composed psychedelic/space rock with endless instrumental thrills that always remains melodic, lively and instantly pleasing to the ear.

Four stars.

 Reincarnation on Stage by ELOY album cover Live, 2014
4.29 | 57 ratings

BUY
Reincarnation on Stage
Eloy Psychedelic/Space Rock

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

4 stars Have to regret now, obviously I missed the train while ignoring their live tour in 2012/13. Maybe for the reason that I wasn't very pleased with the latest studio albums. Anyhow, this production is top-notch nevertheless, for what it's worth. This is the band's first live documentary since 1978, offered as a double CD with a running time of over 140 minutes. The cover is really great by the way, showing Frank Bornemann posing with his Venetian mask. Here we have a representative cross section reflecting more than 40 years of ELOY activity with eighteen studio releases in the back, where Frank interestingly enough has a preference on the 1980's 'Colours' album.

The track order admittedly mirrors the executed live set, the particular songs though are deriving from different occasions. So in some way you can say that this is a best-of compilation from their extended Europe tour. Without ignoring today's better sound quality most certainly, the band's clear aim was to take the audience on a time travel, while offering the original sound as accurately as possible, for example by using vintage synths and analogue guitar effects. And there's also a proper luxury to state when having two guitarists and two keyboardists capable - previously, under studio recording circumstances, solely realized with overdubs.

Something's missing now? Oh, certainly yes, Frank's distinctive voice, featuring this typical German accent, is still there too - of course a real trademark. He's in command when leading through the program with much confidence, alongside with constant compagnion 'Matze' Matziol (bass) who appears at his best on Ro Setau for example. What you can enjoy is a bunch of catchy melodic songs featuring a blend of symphonic and psychedelic ingredients, excellently supported by a female choir trio comprised of Anke Renner, Alexandra Seubert and Tina Lux. The 'Ocean' (1977) adopted excerpts like Poseidon's Creation are showing the band's atmospheric disposition at best. 'Reincarnation On Stage' is a real pleasure, not only for designated ELOY fans. And to band newbies there's no better recommendation to start with - 4.5 stars.

Data cached

Psychedelic/Space Rock bands/artists list

Bands/Artists Country
3 LEAFS United States
35007 Netherlands
3RD EAR EXPERIENCE Multi-National
THE 4 LEVELS OF EXISTENCE Greece
A HEADFULL OF MONSTERS United Kingdom
ABUNAI! United States
ACID FLORIANI Russia
ACID MOTHERS TEMPLE Japan
AGAMEMNON Switzerland
AGUSA Sweden
AHKMED Australia
AHORA MAZDA Netherlands
AKASHA Norway
ALASEHIR United States
ALEX DELIVERY United States
ALGARNAS TRADGARD Sweden
ALHAMBRA Italy
ALICE France
ALIEN PLANETSCAPES United States
ALIENTAR United States
ALITHIA Australia
ALMUADEM Portugal
ALPES & CATHERINE RIBEIRO France
ALPHA OMEGA Australia
ALRUNE ROD Denmark
AME SON France
AMONULLUNOMA Ireland
THE AMORPHOUS ANDROGYNOUS United Kingdom
AMPACITY Poland
AMPLIFIER United Kingdom
ANALOGY Italy
ANGEL'IN HEAVY SYRUP Japan
ANNOT RHÜL Norway
ANONIMA SOUND LTD. Italy
ANTA United Kingdom
ANTLERS United States
DADDY ANTOGNA Y LOS DE HELIO Argentina
ANUBIAN LIGHTS United States
APPALACHIAN TRANSLATOR United States
APRYL FOOL Japan
APTEKA Poland
AQUA NEBULA OSCILLATOR France
AQUANAUT Australia
AQUASERGE France
AQUELARRE Argentina
ARCADIUM United Kingdom
ARCHITECTURAL METAPHOR United States
ARILYN Germany
ARZACHEL United Kingdom
ASSEMBLE HEAD IN SUNBURST SOUND United States
ASTRA United States
ASTRALIA Italy
ATAVISM OF TWILIGHT United States
ATAXIA United States
ATHENE NOCTUA Italy
ATLETA Spain
ATOMIC SIMAO Ukraine
AVARUUSKORPRAALI PAHA HIRVI Finland
AXE United Kingdom
AYAHUASCA DARK TRIP Multi-National
AYERMANIANA Argentina
BABILS Belgium
BABY GRANDMOTHERS Sweden
BACHDENKEL United Kingdom
BACKSTREET ROMEOS Germany
BAIKAL United States
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BARN OWL United States
BARRETT ELMORE Sweden
MASAKI BATOH Japan
BËIRUTH Spain
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BLACK BOMBAIM Portugal
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BLIM United Kingdom
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BOSQUES Argentina
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BRAINSTORM Australia
DAVE BROCK United Kingdom
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BURNT NOODLE United States
ROBERT CALVERT South Africa
CAMEL United Kingdom
CANTERBURY GLASS United Kingdom
CAPITAL SENTIMENTAL Netherlands
CARLTON MELTON United States
THE CARPET KNIGHTS Sweden
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LES CHAMPIGNONS Canada
CHARLIE & ESDOR Sweden
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CHILLIWACK Canada
CHIMERA United Kingdom
CHROMA KEY United States
CIRCLE Finland
CIRCUS 2000 Italy
COBALT BLUE Brazil
COCK C'NELL Japan
COLD SUN United States
COLORSTAR Hungary
COLSTER Italy
COMA STEREO Slovenia
COMETS ON FIRE United States
LA COMPAGNIA DIGITALE Italy
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THE COSMIC DEAD United Kingdom
COSMIC TRIP MACHINE Belgium
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CRANIUM PIE United Kingdom
CRIPPLED BLACK PHOENIX United Kingdom
CRONOMAD Mexico
CROW United Kingdom
CRUMBLING GHOST United Kingdom
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CUZO Spain
D SOUND Hungary
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DARK SUN Finland
DARXTAR Sweden
DASPUTNIK Finland
DATETENRYU Japan
ALAN DAVEY United Kingdom
DAY OF PHOENIX Denmark
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DE CRONOPIOS Argentina
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EL DIABLO Mexico
DOMO Spain
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THE EARLIES Multi-National
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ELOY Germany
AN EMERALD CITY Multi-National
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ETER-K Peru
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IT'S NOT NIGHT: IT'S SPACE United States
IVORY Germany
IXTHULUH Austria
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JUKE France
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KAARNA Finland
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KANZEON Japan
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KARUNA KHYAL Japan
ROSE KEMP United Kingdom
PAUL KIDNEY EXPERIENCE Australia
KIKAGAKU MOYO Japan
KIKI PAU Finland
KILL FOR TOTAL PEACE France
KILLFLAVOUR Germany
KING SUFFY GENERATOR Italy
KINGBATHMAT United Kingdom
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KINSKI United States
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KNALL Germany
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KVASAR Spain
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LANDS END United States
LAVA Sweden
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LEMONADE INFLUENCE Greece
SELIM LEMOUCHI AND HIS ENEMIES Netherlands
LENIN Argentina
LENINGRAD BLUES MACHINE Japan
LES RALLIZES DENUDES Japan
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LIQUID VISIONS Germany
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LOOP United Kingdom
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MESS Estonia
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THE MOOR Sweden
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ONE OF THESE DAYS & THEE HEAVY RANDOM TONE COLOUR LAB Spain
ONE SWITCH TO COLLISION Multi-National
ONEIDA United States
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ŘRESUND SPACE COLLECTIVE Multi-National
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