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PSYCHEDELIC/SPACE ROCK

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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



The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of
- Sheavy
- Meltdowner
- siLLy puPPy
- Rivertree



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 | 3678 ratings
WISH YOU WERE HERE
Pink Floyd
4.60 | 3867 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 3283 ratings
ANIMALS
Pink Floyd
4.30 | 2782 ratings
MEDDLE
Pink Floyd
4.21 | 931 ratings
OCEAN
Eloy
4.16 | 280 ratings
LEGACY
Hypnos 69
4.39 | 61 ratings
OBSOLETE
Hedayat, Dashiell
4.10 | 583 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.07 | 2643 ratings
THE WALL
Pink Floyd
4.11 | 353 ratings
RITUAL
Nemrud
4.10 | 392 ratings
JURASSIC SHIFT
Ozric Tentacles
4.16 | 146 ratings
KINGSTON WALL II
Kingston Wall
4.10 | 239 ratings
TOGETHER WE'RE STRANGER
No-Man
4.14 | 152 ratings
BY THE WATERS OF TOMORROW
Vespero
4.06 | 502 ratings
A TAB IN THE OCEAN
Nektar
4.04 | 549 ratings
DAWN
Eloy
4.16 | 103 ratings
TAKO
Tako
4.05 | 270 ratings
EVERYONE INTO POSITION
Oceansize
4.14 | 107 ratings
PARALLEL WORLD
Far East Family Band
4.01 | 567 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

HORIZONTE DE SUCESOS
Bëiruth
SATORI
Flower Travellin' Band
OMEGA 8 - CSILLAGOK ÚTJÁN
Omega
AHORA MAZDA
Ahora Mazda

Latest Psychedelic/Space Rock Music Reviews


 Stoned Gold by 3RD EAR EXPERIENCE album cover Studio Album, 2017
4.33 | 2 ratings

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Stoned Gold
3rd Ear Experience Psychedelic/Space Rock

Review by raigor

5 stars 'Stoned Gold' is the fifth album of the American psyche-space-prog-rock band 3RD EAR EXPERIENCE from Joshua Tree, CA. And this is arguably the most diverse, intricate, and colorful offering from the band to date.

Clocking in at about 70 minutes, the album features 6 mostly instrumental compositions which crystallized during extended jam-sessions in the studio involving Amritakripta (keyboards, synths, vocals), Robbi Robb (guitar, vocals, productions), Richard Stuverud (drums), Jorge Carrillo (bass guitar), and two guest singers ' Alex Perez and Steven Young. In some way, the music illustrates the aesthetic views and theoretical foundations which one can find in Robbi Robb's 'The Art of the Jam Band: Concepts and intricacies for collective improvisation', 20-page musicological essay attached to the CD/Vinyl release. The essay itself is a sort of recourse to the young generation of aspiring musicians stating that Improvised Rock is incredibly rich and imaginative array of modern music.

While many modern impro-instrumental bands adhere to the principle 'play what you can' (creating actually the same sounds over and over), 3RD EAR EXPERIENCE are here to elaborate huge variety of creative approaches and bring multiple different colors to each new composition. In fact, each track on 'Stoned Gold' has its own stylistic identity (or even several identities). From vintage and forceful, classic power-trio Acid-Psyche-Rock (on opening 'Infinite Unmanifest'), through esoteric and synth-textured Space-Rock ('Iceberg Dreams' and 'Stoned Gold'), groovy-motoric, droning, distorted, and riffy Kaut-Rock and Heavy-Psycho ('I Am Not Robot'), towards Tribal-Rock and Afro-Beat ('No Walls, No Wars' and 'The Drone'). Each track on the album offers kaleidoscopic variety of stylistic elements and influences. As well as each track showcases intelligent, thoughtful, absolutely competent and artistic performance of each musician involved.

Summing up, 'Stoned Gold' is highly representative, expressive, inventive, stylish, challenging, and enjoyable album. This is 'must have' for lovers Psychedelic-Prog, Space-Rock, World-Fusion, and modern Impro-Rock in a broad sense. There is no Progress without Experiment, so yes, don't be afraid to experiment and try yourself in what you don't know yet!

 From Grotto by FROM GROTTO album cover Studio Album, 2017
3.95 | 2 ratings

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From Grotto
From Grotto Psychedelic/Space Rock

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars Hailing from Helsinki, Finland the band FROM GROTTO derive their inspiration from the most unlikely of sources. The band took their name from the spelunking activities of their local cave explorations and found that when fire was lit within the walls of the caverns that the ancient wisdom of those who had lived so long ago seemed to have infected them in strange ways. The band has gained quite the local reputation of putting on stellar live psychedelic shows in which they weave their musical might with the flickering psychedelic effects as inspired by the flames on cave walls. The band released their EP debut "Mython" in 2015 and have at long last issued a proper follow-up in the form of this eponymously titled full-length debut. While the four original members remain in the lineup with the usual guitar, bass, drum and vocals, this debut full-length differs significantly from the debut EP in that there are two more musicians on board with Antti Vauhkonen joining the band to add sultry saxophones and flirtatious flutes as well as Joonaten Juvonen contributing even more percussive sounds in the party. Likewise the band's sound is just bigger and has more room to play around with the inclusion of an expanded use of keyboards.

FROM GROTTO have crafted some very distinct psychedelic rock in their wake as they have taken the basic blueprints of blues-inspired hard rock by such greats as Jimi Hendrix and added many progressive elements that take liberties in lengthy compositional structures as well as interesting time signature changes that incorporate many jazz and electronic elements into the mix as well. The beauty of it all is how well they mix all these elements together in order to create a much more interesting sum of these parts. The overall sound is extremely psychedelic as the guitar effects often echo and reverberate into the ionosphere and beyond. When the band members play heavy, they are a super-tight unit but when they enter space cadet mode they can flitter off into their own respective universes and create some of the coolest spaced out rock just dripping with atmospheric appurtenances and create the most satisfying of heady floating tripped out experiences.

What i love about this band is that every member has a firm control of the music at hand. All the instruments are played with the utmost precision and the tunes are crafted in a very artistic way with strong melodic developments always leading the way but psychedelic drifting liberties always allowed to play out when its appropriate to see them through. One of the highlights of listening to FROM GROTTO is the strong and charismatic vocal performances of Joonas Turner whose passionate vocal phrasings are the real deal and exactly what a rock singer is supposed to sound like as he takes control of the musical developments and reels you in until you're hooked. While much of the album contains vocals, there are also long segments that cater to instrumental detachments and allow the time to simply float through the music.

One track, "The Floating Head" makes a reprise from the debut EP but all the others are totally new. One of my favorites is the didjeridoo opening sequence of "The One That Watches" and how the strong wall of percussion builds and builds as a jazzy piano slowly slinks into the energetic march of the drum circle creating an interesting contrast that finds resolution as it evolves into a trippy jazz-rock type of track with excellent vocals and syncopated guitars, bass and keys that offer a totally cool wild ride. On top of the brilliantly composed tracks is also the mixing and production of the album as every instrument is perfectly placed in relation to the other courtesy of the sound technician Niilo Takalainen. FROM GROTTO is simply impressive as they range from being a super tight band to independently existing in their own soundscapes. One of the best psychedelic bands i've heard in a while and looking forward to hearing what comes next.

 Mython by FROM GROTTO album cover Singles/EPs/Fan Club/Promo, 2015
3.00 | 1 ratings

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Mython
From Grotto Psychedelic/Space Rock

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

— First review of this album —
3 stars FROM GROTTO is an up and coming psychedelic rock band from Helsinki, Finland that has gained quite the reputation for their live settings where they utilize visual mirages to complement their interesting psychedelic guitar effects and high energy musical performances. MYTHON is their debut EP which came out in 2015 and consists of four tracks. This one has a more stripped down sound than their feature length eponymous debut album that came out in 2017. On this one there is a the usual rock instrumentation of Antti Pasonen on guitar, Riku Hy'tyl'inen on bass and Pekka Takalainen on drums. Joonas Turner handles the vocals and unlike the full-length debut this one does not contain the sultry sax and as many keyboards but comes across as a much rawer sound with heavy rock approach with some excursions into planet Lysergia.

This band has a sound all its own even on this first offering. The name FROM GROTTO comes from a single experience of exploring caves which ended up with tales of inspiration brewing into the night which would lead to the formation of the band as the caves were home to ancient dwellers who carried the inspiration through the ages. On MYTHON we are treated to four heavy and psychedelic tracks that feature both heavy guitar riffs as well as cool effects that make them echo and zigzag around like fireflies in a summer sky. The bassist is really strong here as he boldly sets himself apart from the guitar parts as the drums persistently pound away and successfully create their own realities somewhere in between the two string players.

Perhaps the strongest attribute of FROM GROTTO is the charismatic vocal domination of Joonas Turner who, like any excellent lead singer of a rock band, takes the bull by the horns and steers the listener into the midst of the powerful concoction of sound and poetic prose as he belts out one line after another. While the ambience isn't as strong as on their full album, there are segments of psychedelic ambience and atmospheric head trips to another world as heard on the intro of 'Slightly Rotten' which with a running time of over ten minutes constitutes one of the most psychedelic experiences of this brief EP. This is also my favorite track as it goes for the gusto in the psychedelic department and really lets loose a maelstrom of echoey feedback and instrumental freneticism. While not as good as the full-length debut, MYTHON is definitely a great listen and a worthy precursor to a unique band that continues to get better.

 Wandering The Outer Space by ACID MOTHERS TEMPLE album cover Studio Album, 2017
3.00 | 1 ratings

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Wandering The Outer Space
Acid Mothers Temple Psychedelic/Space Rock

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

— First review of this album —
3 stars Tons of ACID MOTHERS TEMPLE's newest albums? Oh would get flooded with their spacey toxicosis, I've assumed. A Peruvian independent label Buh Records has injected kind of Krautrock-flavoured exaggerated, sadistic, sexadelic speed addiction titled "Wandering The Outer Space" in October 2017. Exactly as previously, plenty of distorted, dissected guitar explosions by Makoto and Mitsuko (Mitsuru), violent, offensive, a tad gentle space-synthesizer blasters, and critical plus serious rhythm section-oriented spacequakes can be heard on a full stomach, veiled in a delightful sleeve with such a colourful, hyperdynamic pic upon it.

Suggest the beginning shot of the first massive bombast "Anthem Of The Outer Space" could easily drive us mad. The first quiet guitar play reminds us of a similar taste to "Blue Velvet Blues" ... meaningless voices and sensually shouting guitar kicks sound like unexpected chemical top note in a matured whisky. Likewise, too complicated and asymmetric is the battle field created with polyrhythmic drumming / bass play and quirky magical guitar pitches in the middle part. The last pop / rock part is sorta danceable, enjoyable moment leaning towards "on-media" pop / rock in 80s. "The Targeted Planet" flavours completely of Krautrock, with weird bouzouki vibes, tape recorder- based eerie sounds, or bad mad voices ... all of which should be what Buh Records tries to exhibit, I imagine. The last "Forsaken Moonman" is like noisy, crazy, explosive sound dizziness. Sounds like AMT always play such a mass of noise upon stage, letting the audience dance psychedelically under psychic agent smoke.

We should be amazed at them, who can easily create tons of sound production ... not enough Neues though ... ;)

 Starless And Bible Black Sabbath by ACID MOTHERS TEMPLE album cover Studio Album, 2006
3.20 | 12 ratings

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Starless And Bible Black Sabbath
Acid Mothers Temple Psychedelic/Space Rock

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

3 stars Sounds like another addictive, abusive, bluesy, black comfort. I have no idea where in line this album "Starless And Bible Black Sabbath" was created because ACID MOTHERS TEMPLE are one of the most prolific artists all over the world even currently, but I'm sure this album should have been produced with their energetic, proactive, and improvisational sound experiments just like their previous works. The first (and the longest, great majority) track, that was titled after a renowned album by a renowned progressive rock pioneer and a renowned heavy metal artist themselves with much mischief and playfulness, is flooded with Hiroshi's spacey synthesizer wandering around the studio, massive and excessive rhythm compounds, and heavy guitar-oriented shoegaze sounds. Launching this track with mega-volume is exactly as addictive as abusive agents (the smoke by another audience has given serious headache to me). They would give earache to me definitely, but at the same time, this attack is of another comfort for me.

On the contrary, the last short one "Woman From A Hell" is a pop, catchy pleasure. Needless to say this song is filled with spaceship travelling sounds too and, drenched in danceable and enjoyable guitar machine gun and vocal explosion. AMTers and the audience can get excited and confused with joy. Why not addicted after such a black sabbath-y starshine?

 Warrior On The Edge Of Time by HAWKWIND album cover Studio Album, 1975
4.10 | 583 ratings

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Warrior On The Edge Of Time
Hawkwind Psychedelic/Space Rock

Review by ProgShine
Collaborator Errors & Omissions Team

3 stars The Warrior In The Threshold Of Time

Hawkwind was a kind of precursor to what we call now Space Rock. The band was not the creator of the sound, but definitely the one that carried the flag the most.

On their fifth album, 'Warrior On The Edge Of Time', still with Lemmy (future Mot'rhead) on bass, the band goes on with their - at that time - already traditional sound. Mixing ambient and space sounds with saxophone and flute (thanks to the excellent Nik Turner) and a vigorous kitchen that had two drummers - Simon King and Alan Powell - and the already mentioned Lemmy on bass (this would be his last album with the band before being summarily fired), and unlike what he would show with his Mot'rhead later in 'Warrior On The Edge Of Time' Lemmy shows a more melodic side, even if he uses chords in his bass several times.

Hawkwind, for me, has always been a little complicated, musically speaking, the records I've heard from the band so far (the records that precede this one), did not make anything for me, really. The records are good, they have great moments, but they usually fall into the common abyss of records of this genre, especially those of the first half of the 1970s: 'infinite-improvisations-that-never-end-and-ended-up-being-very-boring '.

When Hawkwind bets on more concrete songs like "Assault & Battery Part I", "The Demented Man" and "Magnu" 'Warrior On The Edge Of Time' is great. However, when the band goes on with their mad endless improvisations the record just get lost on me. Maybe it's the fact that I don~t do drugs and Hawkwind's music is highly 'drugged', I do not know. The fact is that I do not get this side of their music.

Overall a good record, but that does not go beyond the average. However, let's give Hawkwind the credit they deserve. The band has recorded incessantly since 1970, and in 2017 the band released their album number 37! Band leader Dave Brock, at the height of his 76 years, continues to release music that is not commercial and without fear of becoming successful or not. Impressive!

 Kingtime by KINGSTON WALL album cover DVD/Video, 2015
4.20 | 6 ratings

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Kingtime
Kingston Wall Psychedelic/Space Rock

Review by tigerfeet

4 stars I received my Kingston Wall, Kingtime DVD order from Svart Records, Finland last Christmas, and it is indeed a must watch/listen for any Kingston Wall fans out there.

Disc 1 - if you pop it in the DVD player and just press INTRO when the menu system appears, it starts out very well with a live version of 'With My Mind' playing in the inset as you also get to read about the early days and early evolution of the band. This version of With My Mind is one of the best they played and really captures the bands very essence. At this point i was extremely excited for what the rest of disc 1 held in store.

I then went back to main menu, and pressed PLAY ALL. It started a little on the messy side, and if i have been new to Kingston Wall i would have been a little put off at this point as basically, they just split the play list of the band up into sections of live performances year by year and it felt like a little bit confusing.

After a couple of songs I eagerly ejected disc 1 and put in disc 2 and boy, was i glad i did !! (but i will come back to disc 1 in a moment ;-)

Disc 2 seemed to me like the obvious place to start IMO for a any newcomer or indeed longtime KW fan. I pressed the first item on the dvd menu - 'Petri Walli in Memoriam' and was immediately engaged by the way it was presented and edited. It gave me a sense of getting to know Petri and the band through footage from the band live and studio versions of songs. I even felt my eyes welling up when a segment played one of their best known songs, ISTWAN.

I then went back to the menu and watched some of the interview sections, which were very nice and made me feel closer to the band members.

I then watched the Freakout Club sections of KW and pre-KW- Basically what the band really were about, just playing music, and not caring what others thought. They were all musical technicians but had flaws, which made them special.

I then finished up the the EXTRAS section and felt in the mood to go back to disc 1.

Now i was prepared for disc 1 mentally, and watched the entire disc in one sitting. It was excellent and i thoroughly enjoyed every minute.

Overall, Kingtime is very well presented and a nice glossy feel to the presentation. The DVDs are well made and labels look as good as anything out there. It came with pull out insert/booklet and they threw in a few small KW mementos in the package.

The 2 DVDs are extensive and time consuming and that makes for a good re-visit from time to time wherein i always seem to find something new or enlightening.

5 stars from me, even though the flow of the content could have been reorganized - but the actual content was amazing. A fun DVD to watch all in all.

 Stoned Gold by 3RD EAR EXPERIENCE album cover Studio Album, 2017
4.33 | 2 ratings

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Stoned Gold
3rd Ear Experience Psychedelic/Space Rock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Jam Up And Jelly Tight

Welcome, Robbi Robb shows up with a new challenging offer here. The follower of the bands anticipated 'Stones Of A Feather', where they successfully intended to transform feathers into stones and vice versa. Play what you don't know - on this occasion the main idea deals with 'The Art Of The Jam Band'. The approach is to introduce us, preferably young motivated musicians hereby, to his concepts and intricacies for collective improvisation. It all came up once with an inspirational writing addressed at his band mates and other like-minded fellows. And later, based on that, he wrote a real primer about this issue, summing up his experiences, advices, hints. Starting with the official release date 1st of November Space Rock Productions will be distributing special limited vinyl and CD editions. Including this book, needless to say. Consequently, besides the intellectual and spiritual component already mentioned, the tracks featured on 'Stoned Gold' are resulting from different improvisational sessions of course.

The line up is reduced to the essential core, speaking of Robbi on guitar, Jorge Bassman Carrillo, Richard Stuverud on drums and Amritakripa (synths). As for that the diversity concerning involved instruments is concentrated as well. This will pass a good impression by the way, how their live performances use to work on tour in general. Each song shows other stylistical elements, and as for that it is inevitable that some references to other known groups are coming up too. For example the first song Infinite Unmanifest somewhat sounds inspired by early Cream live trips in the vein of 'Spoonful', 'N.S.U' or 'Toad'. Mixed by Robbi himself the album is a proper blend of floating and heavy moments. With the focus on the latter for sure, due to an energetic, luxuriant, sometimes multi-tracked guitar input overall.

The bass guitar is variating in the same way, so that you may think each track shows another player, chapeau Jorge! Iceberg Dream sees them evolving from a trippy start to a heavier fast-paced execution. The intriguing I Am Not Robot passes over to a more halting doomy atmosphere, provided with massive slicing guitar and excellent effective drumming. No Walls, No Wars then is dedicated to Mister Trump I'm sure, though as well introduces a fallback regarding Robbi's roots, which are in South Africa. Tribal percussions furthermore, native chants, didgideroo. Including the closing The Drone this is intensively pointing to African Acid Rock, and his former band Tribe After Tribe in particular. There's a lot to discover on 'Stoned Gold'. Take your time for this lesson. You will learn to love it!

 V by PAPIR album cover Studio Album, 2017
3.22 | 8 ratings

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V
Papir Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

3 stars This is my first experience with Denmark's own PAPIR. I just noticed that they list CAN and HARMONIA as influences which is really cool and I had noticed the HARMONIA-like sounds on a couple of tracks. These guys are a trio of drums, guitar and bass. Interesting that John McEntire mixed this album as he's pretty well known in the Post-Rock world being part of bands like TORTOISE, RED KRAYOLA and GASTR DEL SOL. The music here is fairly laid back overall and being a double album we have close to 95 minutes of music. I would love to scale this back to a 60 minute single album but oh well, that's just me. Two of the three members belong to ORESUND SPACE COLLECTIVE which is impressive.

None of the tracks are titled so we'll start with track one. Drums and bass standout here but we get guitar as well and it starts standing out after 2 1/2 minutes. I like this, it's catchy and energetic yet not in your face until around 4 1/2 minutes when it becomes heavier. It does settle back again and becomes trippy with a great sounding rhythm section. Nice bass before 8 minutes and check out the guitar after 10 minutes as the intensity rises.

Track two is mellow with picked guitar and atmosphere. It's building after a minute as the drums join in. The bass is more prominent after 3 minutes. This is uptempo and reminds me of HARMONIA. The guitar is wailing away starting before 7 minutes as the bass throbs. They're kicking on all cylinders before 9 minutes before it settles right down late.

Track three opens with guitar, a beat and atmosphere. The guitar brings Dream Pop to mind. I like this. A calm before 4 1/2 minutes as we get atmosphere only. This is experimental sounding as it gets noisier. It starts to settle right down before 8 minutes as sounds echo.

Track four features guitar and a beat early on and I like when the guitar starts to soar over top at 3 1/2 minutes and the bass becomes more prominent as well. It settles back before 5 1/2 minutes. A Post-Rock vibe after 7 minutes then it settles down even more. It's building 9 minutes in as they start to groove.

Track five starts disc two. This is very laid back with beautifully picked guitar over this repetitive sound. That picked guitar stops and eventually returns as it echoes starting before 5 minutes.

Track six opens with atmosphere, a beat and sparse guitar. Very repetitive and laid back. It's building and getting heavier until the guitar starts lighting it up after 6 minutes. The tempo picks up before 8 minutes and they are kicking butt after 9 minutes.

Track seven ends it and it's a 25 minute closer. Atmosphere as some sounds echo and drift along. A beat joins in after 2 minutes. A bit of a change before 8 minutes as the guitar cries out with atmosphere and drums. It settles down after 10 minutes as sounds echo once again. Pretty much a dead calm before 12 1/2 minutes but a slow beat and the guitar that echoes along with atmosphere does return. A bass line before 18 minutes as it builds. A great way to end the album.

Man this is a tough one to rate because there's so much good music here but I wish it was about 30 minutes shorter. I'm really looking forward to some of their earlier albums though as this recording has definitely peaked my interest. It's a very consistent album but also there's no real standout tracks either in my opinion. So 3.5 stars it is but I may bump this up down the road.

 Lemonade Influence by LEMONADE INFLUENCE album cover Studio Album, 2013
5.00 | 1 ratings

BUY
Lemonade Influence
Lemonade Influence Psychedelic/Space Rock

Review by ChileProg

— First review of this album —
5 stars After much searching, something contemporary, that has an old sound, space, long chords of keyboards, distorted guitars, good melodies, yes! I was fortunate to find this good Greek group. I was surprised by their elaborate songs that immediately transported me to the decade of the 70's. The songs 1, 2 are very direct, cute piano, percussion and a voice that lets your imagination fly, the undisputed track 3 that is a mix of Pink Floyd by choirs and keyboards. But the best of the album is reserved for the last two songs 6.Sunrise (8:43), 7. Whalesong (6:06) Really a jewel for its power and space environments. A great find, recommended to all lovers of good music and psychedelia of the 70's.
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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
ABUNAI! United States
ACID FLORIANI Russia
ACID MOTHERS TEMPLE Japan
AD'ABSURDUM Switzerland
AGAMEMNON Switzerland
AGUSA Sweden
AHKMED Australia
AHORA MAZDA Netherlands
AKASHA Norway
ALAMEDA 5 Poland
ALASEHIR United States
ALEX DELIVERY United States
ALGARNAS TRADGARD Sweden
ALHAMBRA Italy
ALICE France
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ALIENTAR United States
ALITHIA Australia
ALMUADEM Portugal
ALPES & CATHERINE RIBEIRO France
ALPHA NORD Germany
ALPHA OMEGA Australia
ALRUNE ROD Denmark
AME SON France
AMONULLUNOMA Ireland
THE AMORPHOUS ANDROGYNOUS United Kingdom
AMPACITY Poland
AMPLIFIER United Kingdom
ANALOGY Italy
ANDROMEDA SPACE RITUAL Poland
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
APHODYL Germany
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
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ASTRALIA Italy
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ATAXIA United States
ATHENE NOCTUA Italy
ATLETA Spain
ATOMIC SIMAO Ukraine
AVARUUSKORPRAALI PAHA HIRVI Finland
AXE United Kingdom
AYAHUASCA DARK TRIP Multi-National
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BACHDENKEL United Kingdom
BACKSTREET ROMEOS Germany
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BARRETT ELMORE Sweden
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MASAKI BATOH Japan
BËIRUTH Spain
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BOSQUES Argentina
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DAVE BROCK United Kingdom
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ARTHUR BROWN'S KINGDOM COME United Kingdom
BUHO ERMITANO Peru
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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CAULDRON Sweden
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CAVE United States
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D SOUND Hungary
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DAY OF PHOENIX Denmark
DAY SHIFT United Kingdom
DE CRONOPIOS Argentina
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DEEP SPACE DESTRUCTORS Finland
DEIGEN Japan
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DOMO Spain
DOWNLOUDERS Italy
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ELOY Germany
AN EMERALD CITY Multi-National
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ETER-K Peru
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ION QUEST United States
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IT'S NOT NIGHT: IT'S SPACE United States
IVORY Germany
IXTHULUH Austria
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JACKS Japan
ANDY JACKSON United Kingdom
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JUKE France
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