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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



The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of

- Meltdowner
- siLLy puPPy
- Rivertree
- Tapfret
- HarryAngel746

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

4.63 | 4264 ratings
WISH YOU WERE HERE
Pink Floyd
4.61 | 4457 ratings
THE DARK SIDE OF THE MOON
Pink Floyd
4.53 | 3829 ratings
ANIMALS
Pink Floyd
4.30 | 3250 ratings
MEDDLE
Pink Floyd
4.20 | 1148 ratings
OCEAN
Eloy
4.21 | 342 ratings
LEGACY
Hypnos 69
4.40 | 82 ratings
NONAGON INFINITY
King Gizzard & The Lizard Wizard
4.10 | 3067 ratings
THE WALL
Pink Floyd
4.12 | 458 ratings
JURASSIC SHIFT
Ozric Tentacles
4.17 | 180 ratings
KINGSTON WALL II
Kingston Wall
4.12 | 400 ratings
RITUAL
Nemrud
4.09 | 679 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.28 | 80 ratings
OBSOLETE
Hedayat, Dashiell
4.09 | 644 ratings
A TAB IN THE OCEAN
Nektar
4.23 | 95 ratings
POLYGONDWANALAND
King Gizzard & The Lizard Wizard
4.09 | 288 ratings
TOGETHER WE'RE STRANGER
No-Man
4.05 | 659 ratings
DAWN
Eloy
4.05 | 690 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy
4.15 | 121 ratings
TAKO
Tako
4.12 | 145 ratings
PARALLEL WORLD
Far East Family Band

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

UGISIUNSI
Quantum Fantay
ELEMENT 115
Secret Saucer
LORD SPACE DEVIL
Cosmic Trip Machine
BEHOLD AND SEE
Ultimate Spinach

Latest Psychedelic/Space Rock Music Reviews


 Chalice Hymnal by GRAILS album cover Studio Album, 2017
3.88 | 22 ratings

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Chalice Hymnal
Grails Psychedelic/Space Rock

Review by Matti
Prog Reviewer

4 stars When I put this CD into my player recently, it was probably for second time ever, ie. the first time since my music critic friend gave it to me a few years ago. Since I had no clear memories of the music, I thought it to be just another seedy indie rock release and my intention was only to check out it was nothing worth saving. Soon after realizing it is actually instrumental, I thought "hey, this band might be on ProgArchives, perhaps categorized as Post-Rock". And indeed they are, albeit as Psychedelic/Space Rock. And, you know, whenever I hear an interesting album without any reviews here, I'm willing to write one. Curiously the preceding album Deep Politics (2011) by this Portland, Oregon based band was quite heavily reviewed here at the time, while no one has reviewed this seventh and last album to date.

The whole discography of Grails is evenly rated with four stars on All Music Guide. According to the album review there, "the group continues to push its sound further, incorporating new influences, instruments, and production techniques. As clichéd as the genre name 'post-rock' has become, the musical progression of the Grails catalog embodies the term perfectly, as the band has continually moved far beyond convention into something truly unique and indefinable." So, it seems that on Chalice Hymnal they sound more Post-Rock than before, incorporating less of the "blazing psych-rock guitars".

The album-opening title track immediately weaves a slightly hallucinatory atmosphere. A bit like early Porcupine Tree, plus some saxophone and powerful drumming. 'Pelham' is like a mix of Giorgio Moroder, a Goblin horror soundtrack and Post-Rock bands such as Magyar Posse or Plain Fade -- both Finnish. 'Empty Chamber' is a slow, dreamy, atmospheric piece. 'New Prague' is heavier and more guitar-oriented, perhaps more in the vein of their earlier output? 'Deeper Politics' (notice the reference to the preceding album) starts rather boringly but the soundscape grows beautifully.

It's important that there's a variety of moods among the eleven tracks. Some are sombre, some are almost romantic at heart, although pretty sad, such as 'Rebecca' with a sensual softness reminding me of Vangelis' Blade Runner soundtrack, or the slow and spacey 'The Moth & the Flame'. And unlike with [too] many Post-Rock bands, you can often easily hear individual instruments, including also acoustic guitar or piano. I recommend this album if you like deep and dreamy atmospheres and hope Post-Rock to be more accessible than it often tends to be.

 Into the Woods by HAWKWIND album cover Studio Album, 2017
3.68 | 47 ratings

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Into the Woods
Hawkwind Psychedelic/Space Rock

Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team

4 stars "Into the Woods", released in 2017, was considered by the band to be a sequel to the previous album "The Machine Stops". By this time, the only long-time members that are still with this band are Dave Brock and Richard Chadwick. Everyone else is among the constantly changing personnel. However, this album is one of the most varied, yet strangely typical, of the later Hawkwind albums. It is full of surprises, fun and plenty of Hawkwind space jams.

It is a bit of a surprise that, with the many bad Hawkwind albums that have been released in the later years, that they can still cull together a decent album like this one. A lot of it has to do with the fact that when the band takes itself less seriously, they seem to have more fun and the result is a better album. The two previously named individuals play pretty much most of the instruments on the album, and that probably helps to streamline and focus their sound. Everyone else involved with the album are more like guests that appear on a few of the tracks and contribute various vocals and instrumentals. This allows Brock and Chadwick to focus on the overall sound of the album.

There is a surprising amount of old-style Hawkwind atmosphere here, especially in the longer jams as in "Into the Woods", "Have You Seen Them?", the wild and wacky "Space Ship Blues" (which features steel guitar, fiddle, harmonica and banjo mixed into the spacey wall of noise) that has this 50's rock n roll/country space vibe, the mystical/mythological vibe of "Dark Nymph" and the best (saved till the last) space jam of all "Magic Mushroom". There are the usual, shorter tracks that attempt to glue it all together, and in this case, they all seem to be related with the use of natural sounds as a background to either spoken word or musical interlude-style melodies, like the organic and acoustic "Darkland" which is as organic sounding as Hawkwind gets as the space effects are still there, just deep in the background. They even take a decent stab at a blues-based hard rocker with ""Magic Scenes" or even make fun of themselves with "Vegan Lunch".

There is a lot here for everyone, but its still all made cohesive by the traditional space/psychedelic style of the band. Even with the variety here, there is still no mistaking that this is Hawkwind for those that are long time fans. There is nothing here that will offend any of the old fans, and there are some songs that might even garner the band some new fans even though many of them might think that some of the band's styles could be a bit strange sounding to their radio-trained ears. Don't worry, there's plenty here to keep the space fans satisfied. This album, if nothing else, still proves that this band that has been around for a long time can still put out a fun and decent album and lovers of the new psychedelic bands will be happy to hear from the band that had a lot of influence on those new groups. This is one of their better ones from their more recent discography.

 Magick Brother and Mystic Sister by MAGICK BROTHER AND MYSTIC SISTER album cover Studio Album, 2020
4.03 | 87 ratings

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Magick Brother and Mystic Sister
Magick Brother and Mystic Sister Psychedelic/Space Rock

Review by Beautiful Scarlet

3 stars 3/5*, great debut.

Surprisingly not to Gong-like. I mean yeah it sounds a bit like Gong but not as much as I expected for a band that has named their album/band/songs after Gongs work. The female vocals are nice, echoey and lovely. The male vocals I find rather meh, with their west coast psych vibe not going well with the more European sound of Magick Brother & Mystic Sister. The songs are all a bit spacey due to the synths coating the tunes in atmosphere. Drums are sparse but this gives more rhythmic attention to the bass which really feels important throughout the album. Guitar strums lackadaisically, at times providing a little lick when required and Flute supplies gentle lead. I like that every song sounds sufficiently alike to make a cohesive album without sounding monotonous and how the songs are rhythmically driven with leads feeling like the basses support.

Overall this is a good album that manages to succeed in not sounding like a clone of any classic band, instead they've achieved an authentic blend that allows to genuinely pass as a forgotten artifact. I would definitely like to see a follow up with expanded songs and no more of the dude singing.

Canterbury Sound Score 3/5 cuz itz too psych n not jazzy riff salad enuf' but sum t stuff on-point so ye 3/5

 Doremi Fasol Latido by HAWKWIND album cover Studio Album, 1972
3.76 | 357 ratings

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Doremi Fasol Latido
Hawkwind Psychedelic/Space Rock

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars Dear oldie goodie space rock. Needless to say, HAWKWIND's third album "Doremi Fasol Latido", following their 'creation of fame' "In Search Of Space", pushed themselves to the top runner of Psychedelic Progressive / Space Rock scene. Currently we can hear plenty of Space Rock opuses here and there, that have already been called 'old- fashioned', but mysteriously their spacey atmospheric configuration through this album has still been fresh and fruity. Although their recording, mixing, or producing, sounds like a tad ancient-looking cheesy, cheap movie set, their strong intention for spicy spacey structure can be digested directly and smoothly. We could hear their positivity and creativity via this giant full of rigidity (authentic space rock construction or hard rock appearance) and moderateness (slightly catchy texture). Unshakable HAWKWIND world we can gain experience.

The departure "Brainstorm" involves almost all of their innovative, impressive originality. It's the longest track in this creation but we cannot feel so long nor redundant deeply in it. As if we attended their live on stage as the audience, our inner mind should be merged and unified into their improvised and calculated playing completely. Such old material recorded 50 years ago (!) should not make us feel old-fashioned ... what a mystery. "Lord Of Light", later added as a radio-edited bonus track into the remastered version released in 1996, is one of their catchy, the most acceptable songs. Whilst holding their enthusiasm for space rock stances, they would keep good feeling in the melody lines and rhythmic bases. On the contrary, we can enjoy another alteration of sounds in "Time We Left This World Today" created with repetitive sticky phrases and gradual shifts of their playing style. In the middle part we can get immersed in crazy improvisational battles of  the lead guitar, the bass guitar, the drums, and the synthesizers. "The Watcher" is acoustic, and slightly depressive, but mystically comfortable one. Dave's voices are not so good (because the atmosphere around this track is quiet and simple methinks) but who cares?

"Doremi Fasol Latido" can be thought of as one of progressive rock textbooks that are passed down from generation to generation.

 En Annan Varld by AGUSA album cover Studio Album, 2021
3.93 | 21 ratings

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En Annan Varld
Agusa Psychedelic/Space Rock

Review by TenYearsAfter

3 stars Agusa is a new Swedish four piece formation that started in 2013, the name is derived from the place where the band did jam sessions. Late 2013 Agusa went into the studio to record the debut album entitled Högtid, released in early 2014. During the winter drummer Dag Strömkvist decided to leave and to travel around India for a while. After a number of auditions Tim Wallander joined the band, and in the beginning of 2015 Jenny Puertas on flute became the newest Agusa member. In 2015 Agusa released the second effort entitled Två, followed by Agusa in 2017, and a serie of live albums between 2016 and 2018. And now, anno 2021, Agusa has released a new album named En Annan Värld featuring two epic instrumental compositions.

Sagobrus (25:01) : This longest track is in the 24-carat symphonic rock tradition: dynamic and varied, with lots of changing atmosperes and breaks, and coloured by a wide range of instruments. The one moment dreamy with twanging acoustic guitar and soaring flute (strongly reminding me of fellow Swedish band Anglagard) or a slow rhythm featuring a Hammond organ solo and a fiery, distorted guitar, turning in a sumptuous climate. The other moment an accelaration with Jethro Tull-like flute traverse, and a tight beat. Or from dreamy with churchy Hammond sound and moving guitar solo to atmospheric with organ arpeggios, slowly turning into more dynamic and bombastic, embellished with pleasant flute, organ and guitar work (again reminding me of Anglagard but also Camel). My highlight is halfway: a mid-tempo with a long and swirling solo on Hammond organ (evoking Peter Bardens from Camel), and strong rhythm-section, topped with a wah-wah drenched guitar sound. The shifting moods are very flowing and the band succeeds to keep my attention, bravo!

Uppenbarelser (21:12) : This other epic composition strongly differs from the previous one. First the emphasis is on ambient and atmospheric music featuring sound collages, soaring flute and organ, gradually a slow rhythm, turning into more dynamic with sensitive electric guitar leads. Then back to mellow with soaring flute, a mellow sounding Hammond joins, followed by fragile howling electric guitar runs, powerful bass work, and a short flute solo. Halfway the mood shifts to psychedelic, like early Pink Floyd, with a fiery and biting electric guitar solo, and dreamy organ play, pretty hypnotizing and compelling. In the final part (more sounding like the first composition) first dreamy with flute, then turning into bombastic with organ, guitar and flute (again Anglagard hints), and finally back to dreamy with flute and tender acoustic guitar. A pleasant variety.

My rating: 3,5 star.

 Hologram by KHADAVRA album cover Studio Album, 2021
3.91 | 2 ratings

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Hologram
Khadavra Psychedelic/Space Rock

Review by alainPP

4 stars KHADAVRA is an atypical Swedish psychedelic rock quartet created in 2012. Influences on early PINK FLOYD, on jazz, on psyche-space groups such as MONSTER MAGNET, HAWKWIND, TOOL, ISIS, MOTORPSYCHO, GODSPEED YOU! BLACK EMPEROR and the BLACK SABBATH veterans; by digging out certain beaches, the divine breaks of ANEKDOTEN and CAMEL come back; a little hints of KING CRIMSON and SIGUR ROS all that to say that we are in the experimental progressive psychedelic in my opinion, amen! They define themselves as digging deep into the untapped subconscious, seeking the unknown from within and expressing the sound found; a music inspired by common and unusual experiences on the surreal life we ​​ are currently living; sound on the dynamics, the emotion, the trance generated more than on the technicality of the notes, all amplified by the joint use of the English language and kindergarten.

"Stundom" for a psychedelic entry, soaring, beautiful, dreamlike, too short, which is used to prepare "Shapeshifter" which leaves on a deluge, what about a colorful musical maelstrom, sounds of the 70's embellished with more recent ones; the sound is clear, energizing at the limit of the jam as the ØRESUND SPACE COLLECTIVE do so well. "Lucid Revival" with a distinctive oriental ambiance, it feels like the gardens of a caliph in search of nirvana; it starts with an obvious PINK FLOYD title from their first titles, well it's heavier anyway. "Possession" continues with this Indian atmosphere, bordering on mantra; messy sounds, saturated guitars that twirl, crystalline keyboards that form saving breaks; it takes an effort to dive into this colorful musical meander, we dive, we fish you out, we push you back into the abyssal depths for a quarter of an hour; a masterful psychedelic atmosphere where Sebastian excels on the guitar; watch out for this dreamlike explosion every 10 minutes and its final. "Zoning Out" for an anachronistic, rhythmic track of the dark and vintage THE CURE, the fast instrumental break sends far and allows to be tamed easily. "10102020" for the Scandinavian medieval interlude with old acoustic zither.

"Katla" and the second big track which refers to groups such as ANEKDOTEN, LANDBERK and ÄNGLAGÅRD; thunderous psychedelic highs, almost hard breaks at times, others with flute giving an acoustic, Scandinavian folklore aspect; final crescendo with explosion of the drums, vocals à la OPETH from the beginning to hang up if you got lost in space limbo. "Anhedonia" for the title creepy mantra, we went beyond, we approach Heaven, the air is strangely calm, serene, the voices hang on to the earth anyway; it is strange, singular, also resting after the flood before; "Vemod" which looks like a musical ox where the piano has the hand; dreamlike piece accentuated by the slide guitar then electrified; the finale returns to a soaring atmosphere beatified by the Gods themselves. "Hologram" for the album's melting pot; a colorful musical trance on POPOL VUH at the start, a monolithic voice and instrumentation that will tune, hang around; a mantra from the end of the 60's psyche pop then Floydien like on the tracks of "Animal", the more strident post rock guitar or stoner I do not know any more, allows to end in apotheosis.

KHADAVRA sets up with this opus a perfect musical oxymoron; mixture of dark light, warm darkness, a musical hyperbole imbued with sounds, emotions, ramblings influencing our mental associations; more than the psyche, we seem to be entering a hypnotic musical state here and it is not the classic French horn, didgeridoo, marimba, sitar instruments that will change our minds. So yes it takes progressive blood to dive into this maelstrom from which you will not be sure to return intact, on the other hand this album has the power to break a little more the progressive codes and to propose a new sound, this which is an undeniable plus at the start of the decade.

 Volume V - Le Bolero du Veau des Dames by CATHARSIS album cover Studio Album, 1976
3.43 | 21 ratings

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Volume V - Le Bolero du Veau des Dames
Catharsis Psychedelic/Space Rock

Review by Boojieboy

4 stars Volume V - Le Bolero du Veau des Dames is the band's best and strongest album. It's more rocking than the others, and has more energy and variation as well. This would be the recommended starting point, and the most likely to be enjoyed by fellow progheads. This, as with the band's last album, feature full drum set. The mix and production are also the biggest and fully round of the albums.

The leadoff track "Palace" and "Doctor Pleu" are both reminiscent of ELP and Fireballet's first album.

"Styx" has some nice dreamy synth lines and non-vocal singing. "Melba" sounds quite a bit like Gryphon. The title track "Le Bolero du Veau des Dames" starts off with a very regal / royal melody - highly European - and builds up as it goes along, into a prog rock march along the lines of something by Ange or maybe even early Genesis.

Definitely recommended.

 Volume IV - Illuminations by CATHARSIS album cover Studio Album, 1975
3.55 | 25 ratings

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Volume IV - Illuminations
Catharsis Psychedelic/Space Rock

Review by Boojieboy

3 stars Unfortunately, this is second weakest album by the band, after their final album Volume VI - Et s'aimer ... et mourir ... The songs aren't very adventurous or interesting, and it sounds like they were bored or short on material, but went forward with releasing an album anyway.

One of the biggest problems with this album is that most of the songs this time just revolve around repeating a simple riff, not going anywhere in particular. The percussion / drums are especially low-key, and actually the guitars as well.

The other issue is that Charlotte is back on vocals (from the first album), and way more obvious and upfront than before. They have a nice quality, not unlike Annie Haslam doing her non-word thing. But sometimes something good should be used sparingly. They're overdone here, and actually get in the way of the music at times.

The best song is "Poèmes du 17e siècle". It actually has full drums, rather than some light percussion noodling. Charlotte's doing some strange heaving breathing thing, which is sort of sexual, though not quite to the point of moaning. She laughs a few times too. "Mignonne allons voir si la rose" actually has quite a bit of laughing from her too. For all we know, she could have been higher than a kite when it was recorded. Maybe the whole band was too stoned to put much energy into this album.

 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.90 | 2282 ratings

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Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by Antonio Giacomin

5 stars "Atom Heart Mother"

My favorite Pink Floyd album ever. Two reasons here :

1 ? Musically, the suite "Atom Heart Mother" is the only fusion between progressive rock and orchestra that I really appreciate. To explain this position and to make myself clear, it is the same reason I prefer more a Renaissance album like "Prologue" than the profoundly orchestrated "Scheherazade". The way David Gilmour guitar dives in a sea of strings (what a poor poet I am?), is not less than? wonderful !

On the vinil side 2 we have a beautiful Roger Water ballad (for me one of his best); we have an even nicer ballad from David and? a masterpiece from Rick Wright. "Summer 68" is for me one of the best songs ever composed; and I only have after that to deeply respect Mr. Wright as a musician. Finally, we have the strange "Alan´s Psychedelic Breakfast". l never skip this song, I hear it until the end by means of being respectful to my favourite Pink Floy album?

2 ? The second reason is the amount of beauty and emotion present in this album, beauty that can be found in Rick´s and David´s singing; and in the guitar and strings layers on the first side also. I did not find that emotion in no other Pink Floyd album, "Wish You Were Here" is in a distant second place. Another musician that I appreciate too much because the beauty and capacity of transmitting emotions through his songs is Vangelis; but this is subject for others reviews?

 Meddle by PINK FLOYD album cover Studio Album, 1971
4.30 | 3250 ratings

BUY
Meddle
Pink Floyd Psychedelic/Space Rock

Review by Antonio Giacomin

5 stars "Meddle"

My second favorite Pink Floyd album ever?

On the low side, beside "Echoes" and "One Of These days", I do not find excellence in the other songs. They are, how is normally said here, "they are good but not essencial".

So, we must set the focus on those two songs, in order to justify this album status as a masterpiece. In "One Of These days" what is there more to be enjoyed are the rhythm section. The bass (if I were to be a musician, I would like to be a bass player), part drives you to a musical way no other bass line may ever conduct you, that bass line cannot be changed in order to preserve the essence of the song! Related to drums, it seems Mr. Mason has always being an underrated drummer. He is one the players I can more easily recognize, he has a very particular way of kicking. And if he changed his playing in this song just a little bit, the whole thing would be compromised as well...

Finally, "Echoes". The great rival of "Atom Heart Mother", and here we see what can be considered the best way the band sing their songs, and it is when Rick and David shares vocal parts. This is the song that made me understand what a "epic" is; and, as well, turned me into a prog fan since? 1979...

PS - By means of curiosity, In the end of de seventies I was a teeneger, and in that slow instrumental part halfway to the end of "Echoes", dominated by Roger´s rhythm on the bass, I imagined myself slowly riding "Tundro" (from the comic "Herculoids"), through a strange and dark forest...

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TRANSITIONAL PHASE United States
TRANSNADEZNOST Russia
TRAUMMASCHINE Spain
TRAVELING CIRCLE United States
TREATMENT United Kingdom
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TRIPTONUS Austria
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NIK TURNER United Kingdom
TURZI France
TWILIGHT Germany
TWIN TAIL Japan
TWINK United Kingdom
U SCO United States
U-NI Japan
UBERMODO United Kingdom
UFO ÖVER LAPPLAND Sweden
ULLS Spain
ULTIMATE SPINACH United States
ÜMIT! Germany
UNDERGROUND ZERO United Kingdom
UNICORN PORN United States
UNIMOTHER 27 Italy
UNIVERSITY OF ERRORS United States
UNIVERSO ROJO Chile
UNZEN PILOT Portugal
THE URSULA MINOR Tunisia
THE USA IS A MONSTER United States
VAGO SAGRADO Chile
VED Sweden
VELVET OPERA (ELMER GANTRY'S) United Kingdom
VERMA United States
VERT:X United Kingdom
VESPERO Russia
VIBRAVOID Germany
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VIOLETA DE OUTONO Brazil
VIRGEN SIDERAL Peru
VIRTUAL MAX Canada
VLAD TEPES Argentina
THE VOCOKESH United States
VOICE OF THE SEVEN THUNDERS United Kingdom
VOID GENERATOR Italy
VOSTOK PROGRAMME United States
VOYAG3R United States
WALRUS Norway
WANIYETULA Germany
THE WARLOCKS United States
WAX MACHINE United Kingdom
WEITES LUFTMEER Germany
WELCOME INSIDE THE BRAIN Germany
WELTRAUM Germany
WELTRAUMSTAUNEN Germany
WHERE THE MOON CAME FROM United States
THE WHIRLINGS Italy
WHITE HILLS United States
WHITE MANNA United States
WILL-O-THE-WISP Greece
WIND Norway
WINDY AND CARL United States
WOODEN BABY United Kingdom
WOODEN SHJIPS United States
ED WYNNE United Kingdom
XOO United Kingdom
HIRO YANAGIDA Japan
YAWNING SONS Multi-National
THE YELLOW MOON BAND United Kingdom
YOKAI Belgium
YUKON TERRITORIAL EXPANSION United States
YUME BITSU United States
YURI GAGARIN Sweden
WILL Z. Belgium
ZEMLJA BROJ 9 Serbia
ZENITH EFFLUVEUM United States
ZODIAC SUNRISE Finland
ZOFFF United Kingdom
ZONE SIX Germany

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