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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 | 3702 ratings
WISH YOU WERE HERE
Pink Floyd
4.60 | 3894 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 3307 ratings
ANIMALS
Pink Floyd
4.30 | 2802 ratings
MEDDLE
Pink Floyd
4.21 | 937 ratings
OCEAN
Eloy
4.16 | 281 ratings
LEGACY
Hypnos 69
4.39 | 61 ratings
OBSOLETE
Hedayat, Dashiell
4.10 | 588 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.07 | 2660 ratings
THE WALL
Pink Floyd
4.11 | 356 ratings
RITUAL
Nemrud
4.09 | 394 ratings
JURASSIC SHIFT
Ozric Tentacles
4.15 | 149 ratings
KINGSTON WALL II
Kingston Wall
4.14 | 155 ratings
BY THE WATERS OF TOMORROW
Vespero
4.06 | 506 ratings
A TAB IN THE OCEAN
Nektar
4.10 | 242 ratings
TOGETHER WE'RE STRANGER
No-Man
4.04 | 553 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 | 570 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

LAST DAY OF SUN
Kalutaliksuak
A GIFT FOR YOUR DREAMS
Will-O-The-Wisp
OMEGA 8 - CSILLAGOK ÚTJÁN
Omega
THE XENON CODEX
Hawkwind

Latest Psychedelic/Space Rock Music Reviews


 Nemrud by NEMRUD album cover Studio Album, 2016
3.99 | 188 ratings

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Nemrud
Nemrud Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

4 stars For a band, producing a self-titled album several releases into your career makes a certain statement - it suggests a certain maturity has been reached, that you've found your feet, established your sound, and are ready to put forth a distinctive manifesto of what your musical project is all about.

In the case of Nemrud's self-titled third album, the Turkish space rock unit seems to have decided that their musical mission is to pick up the distinctive style of Eloy and carry it forwards into a new era, with the end result being an album which, if you slipped it into the Eloy discography, would probably be acclaimed as the best thing they've done since the 1970s. Mert Göçay's performance, in particular, with his distinctive guitar tone and his vocal style, puts me in mind of nothing less than the Eloy of the Ocean/Silent Cries and Mighty Echoes sort of era.

Nonetheless, it would be very wrong to write this album off as a mere exercise in cloning the Eloy sound; more modern electronics and synthesisers are integrated with a greater smoothness than I think Eloy themselves managed, and as with the preceding Ritual the extensive instrumental breaks have a character of their own. Whilst I wouldn't call it an all-time classic, I certainly think it's the best Nemrud release I've heard so far, and certainly deserves to get them attention from anyone who enjoys the particular brand of space rock that Eloy pioneered and which few others have taken forwards (Anyone's Daughter perhaps being the only example that comes to mind).

 Divided We Fall by BLACK NOODLE PROJECT, THE album cover Studio Album, 2017
4.47 | 13 ratings

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Divided We Fall
The Black Noodle Project Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars Four years on from their last album and Jérémie Grima (guitars, voice, programming) and Sébastien Bourdeix (guitars) are back with the sixth studio album. They are the only survivors from the line-up that recorded 'Ghosts & Memories', and here they are joined by Tommy Rizzitelli (drums) and Frédéric Motte (bass). The band was originally a solo outing by Jérémie, and we were first in contact at about the time of the debut album back in 2004. I have always enjoyed their music, but this time they appear to have taken it to another level. They have always been heavily influenced by the likes of Pink Floyd and Porcupine Tree, but this time I believe we need to add Muse to the mix plus a real feeling of self-awareness and control. Heavily instrumental, this is an emotional album with the guitar often at the forefront, with just a few notes plucked from the ether to create something that is very special indeed.

From the very first sounds of "Isolation" I felt that I was onto something very special indeed and decided to not listen to the album until I could sit and give it the sole attention it deserved. I decided against headphones, but instead sat quietly in the middle of a room and let the sound wash over me (accompanied just by a rather large glass of rum, just to keep me company). There is a presence and self-control in this album that other bands need to pay attention to: there is no need to play five thousand notes to the bar when every note is placed with such perfection. There is a deep melancholy within this, with emotions let rampant, and a crying guitar that David Gilmour would be proud of. I have found it hard to write the review as I keep stopping just to bask in the splendour of this release.

It may have come out right at the end of the year, but possibly that makes it the perfect Christmas present for the discerning proghead who doesn't know what he/she is missing out on? They riff when they need to, and there is so much space within the layers that the proverbial truck could waltz right through, while the rhythm section not only when to crunch into life, but also when to sit quietly drinking their caf' au lait, and let the two guys at the front create some real magic. Album of the year? Well, there have been some great releases and I would have to go back and play them all to be sure. But, easily in my Top Ten and I have reviewed nearly 600 in 2017. Wonderful, amazing, indispensable, and if you enjoy any of the bands listed above then you simply have to get this

 Atlantropa Project by WANIYETULA album cover Studio Album, 2017
4.00 | 1 ratings

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Atlantropa Project
Waniyetula Psychedelic/Space Rock

Review by mitarai_panda

— First review of this album —
4 stars Waniyetula This is a very old German band, published two albums in the 70s, this year released the album "Atlantropa Project" in the name of Atlantropa Project, the overall symphony + crossover, length 80 minutes, but without epic, More is a combination of small songs, occasionally more core tracks. The lead singer and invited female lead singer are good, music, the keyboard is a bright spot, although the old band, but absorbed a lot of modern front shake elements, it is not very retro. The album's theme is probably human evolution, soaring to a new Utopia called Atlantropa and the like, the German home page I do not understand. Overall, there is audibility, but too much narration divides the musicality (it does not look like a rock opera), and there is not a very powerful piece of work, overall three and a half to four stars. But I still need to hear it several times to make the right judgment.
 Atomhenge 76  by HAWKWIND album cover Live, 2001
2.53 | 24 ratings

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Atomhenge 76
Hawkwind Psychedelic/Space Rock

Review by ProgRobUK

2 stars As a lover of the 'Astounding Sounds, Amazing Music' album this really ought to be a piece of magic. I was not a gig goer at the time that ASAM was released so the chance to hear the band at that time should be priceless. However, while there are some good things about this release there is also considerable bad.

The Good 1. Yes they play a lot of ASAM 2. There are some curiosities such as an early version of Uncle Sam's On Mars (not recorded in the studio until the PXR5 album), Hassan I Sahba (not recorded until the Quark, Strangeness and Charm album), Time for Sale (never included on a studio album) and Back On The Streets (only a single at the time in support of ASAM) 3. I understand that it represents the full set (unlike the album Thrilling Hawkwind Adventures which only contains a selection of the tracks).

The Bad 1. The mix - this is truly terrible. At its best the mix is simply wrong with some instruments mixed so low they are hardly audible and others too high. Then there are the missed cues, where instruments should be at the front of the mix and they are not, at least until part way through their starring role. There are also times when there is clear distortion from the louder instruments. 2. The "live" feel - for me part of the appeal of a live album is the feeling that you are there. You don't want the audience too high in the mix but equally you don't want is missing. Here the audience is almost inaudible. Added to there being no "chat" between songs gives a somewhat cold feel to the atmosphere. 3. Lack of stereo separation - it is not a mono recording but the lack of stereo separation does not help make it sound like a quality recording. 4. Recording quality - at times the quality just deteriorates with the worst being in Kerb Crawler. 5. Bob Calvert even forgets his (own) lyrics at times with "la la la" inserted. Now we can all make mistakes, but added to the above just gives the whole recording a bit of an amateurish feel.

Summary Everything about this recording says it is a badly mixed soundboard recording. It provides an insight into Hawkwind at the time, but, like many bootlegs, you just wouldn't want to listen to it very often. This is almost the definition of a two star rating - truly for fans only.

 Hallucinations Inside the Oracle by ŘRESUND SPACE COLLECTIVE album cover Studio Album, 2017
3.93 | 11 ratings

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Hallucinations Inside the Oracle
Řresund Space Collective Psychedelic/Space Rock

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

4 stars In addition to a split LP with Russian band Maat Lander and keyboard player Scott Heller aka Dr Space's solo disc `Alien Planet Trip: vol 1' earlier in the year, spacerockers Řresund Space Collective return with a double LP all their own, 2017's `Hallucinations Inside the Oracle'. Comprised of four side-long instrumental pieces (although the forty-one minute title track is split over two sides of vinyl), each improvised composition offers a different kind of psychedelic experience, sometimes working in electronic, stoner, raga-rock and bluesy flavours to the heavy guitar jams and swirling cosmic keyboard atmospherics.

Mysterious sitar strains ring through `Reflections in the Mind's Eye's fizzing synth winds and placid ambient washes that gradually grow in urgency, a plodding beat taking a head-nodding trance-like hold and rattling with menace, as droning distortion and strangled guitar shards coil together into a fuzzy storm. `ESP (Extreme Spatial Perspective)' surges with bouncing electronic programming racing alongside relentless pounding drums, fizzing synth spirals and wailing electric guitar embers that twist into ethereal reaches before rumbling mud-thick bass reverberates into a heavy grooving stoner sludge in the climax - phew!

Covering sides three and four of the LP, `The Oracle's creaking electronic drones lap at drowsy sitar mediations and dusty wind- swept violin reaches that flit between frantic and airy around enveloping rising/falling synth pools. Lethargic and splintering electric guitar tendrils ring and chime with the same ethereal reaches as the early Pink Floyd improvs, groaning into the heavens over washes of electronic distortion and exotic percussion. It soon turns into a strident slow-burn guitar jam that comes roaring to life over hypnotic synth caresses before a mellow violin come-down to close on.

`Hallucinations Inside the Oracle' makes for a fine fusion of East meets West psychedelic/space music, one that compliments in parts the (two to date) ŘSC-related Eastern-flavoured `West Space and Love' LP's beautifully, and both `...Oracle' and the above- mentioned `Dr Space's Alien Planet Trip' deserve to be placed alongside the finest albums of the year for space-music fans.

Four stars.

 Soundcheck by CIRCLE album cover Live, 2009
3.00 | 2 ratings

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Soundcheck
Circle Psychedelic/Space Rock

Review by Mortte

3 stars One of so many Circle live albums from their very intensive period. This was recorded from "Space Force One"- festival from Finland. Most of the material could really be from their soundcheck of the evening concert, because you can hear their talking about monitors etc. After last song there is also some handclapping from the audience. This is one of the first gigs after brothers Julius and Pekka Jääskeläinen joined in Circle.

First piece "Kukkakaalia Kapteenit!" is not heard anywhere else. It´s short, very beautiful and melodic improvisational piece. Next "Tuhatsata" has same base as an improvisation in "Tuhat" in "Rakennus"-livealbum, but it´s over ten minutes longer and is also much more intensive. Really a shamanistic trip, but maybe little bit too long. "Virsi" is quite the same way played as in "Rakennus", but hasn´t got the ending vocalpart. Only piece from studio Circle album is their "Satisfaction", "Nopeuskuningas". It´s just too long because there happens nothing more than it´s shorter versions.

This Circle live album is recommend only fanatic Circle fans. The recording quality is better than "Rakennus"-live, but material is weaker. This album also gives a good picture from Circle at it´s wildest in improvisations, but as a start of Circle live records I recommend "Serpent".

 From the Poisonous Tree by ELECTRIC EYE album cover Studio Album, 2017
3.80 | 6 ratings

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From the Poisonous Tree
Electric Eye Psychedelic/Space Rock

Review by UncleRust

4 stars I heard this on YouTube a few times and decided I needed to buy it. Strange, I know spending money on music that is freely available on the Internet. It is the right thing to do.

This is a quirky, kind of weird collection. Sometime dark, always interesting. The lead vocals are ok, but might not please everyone. In some places, I am reminded of 90s darkwave, proto-prog of the 60s, Nick Cave, and Van der Graaf Generator's simpler side. The arrangements and atmosphere are nothing completely new, but there is amazing tension and release.

The recording is pretty good and the inclusion of real and sampled instruments throughout (at times hard to tell which is which) make this all the better.

Not a bad song on here as long as you are not looking for pop songs. Have a listen without prejudice and let your mind be taken away.

 Land of Blue Echoes by RAGNI, MARCO album cover Studio Album, 2016
3.98 | 11 ratings

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Land of Blue Echoes
Marco Ragni Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Italian composer and musician Marco RAGNI have a career that stretch back to the 1980's, but then as a member of a variety of different bands. From 2010 and onward he has catered for a solo career, one that have seen him release five albums so far. "Land of Blue Echoes" is the most recent of these, and was released through US label Melodic Revolution Records in the spring of 2016.

Ragni's fifth solo album showcase a composer and musician that appears to be confident in what he wants to achieve and how he wants to achieve it, using guest musicians in select places to elevate the total experience for the end listener and otherwise paving out a path for himself in a subtly folk music inspired and distinctly atmospheric laden psychedelic part of the progressive rock universe. Similarities to Pink Floyd is a part of the totality, but not to any great extent. That being said, I still suspect that those with a taste for late 70's Pink Floyd may well be something of a key audience for this album.

 Astounding Sounds, Amazing Music by HAWKWIND album cover Studio Album, 1976
3.32 | 157 ratings

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Astounding Sounds, Amazing Music
Hawkwind Psychedelic/Space Rock

Review by ProgRobUK

5 stars Back in the seventies a friend of mine gave me a cassette with an album each side of music I "really ought to hear". It was my introduction into progressive rock as a genre. Side A had a copy of ELP's "Brain Salad Surgery" and Side B had a copy of HAWKWIND's "Astounding Sounds, Amazing Music". I loved both albums, but Hawkwind went on to be the band that I saw live again and again.

To me, this still represents probably my favourite album of theirs - indeed it is one of only two vinyl albums I still own even without a means of playing them! The cover of the vinyl was marvellous with its depiction of Britannia with her hand on an old-fashioned radio with a giant leaf of a certain plant behind her. The dust cover is a joy, with its fake small ads which evoke the era of the sci-fi comics that the album's title recalls.

Musically, listening again after all these years, there are some wonderful tracks. The instrumentals are gorgeous soundscapes which are a world away from the harder rocking of earlier albums, but they really stand out. The weakest of those is the Aubergine That Ate Rangoon, but you can forgive them just for having a track with a title like that! City of Lagoons is peaceful, languid and beautiful and acts as a wonderful counterpoint to the preceding track, but my overall favourite instrumental and track on the whole album is the marvellous Chronoglide Skyway. I particularly like the way it is offset against Kadu Flyer which is also up there at the top of the album.

When it comes to the other tracks with vocals, Reefer Madness is a rant against the hyperbole of the excessive anti- drug messages of the sixties, and yet still seems to belie a reservation about drug abuse. This is a powerful track. Steppenwolf shows off Calvert's superb lyric writing but, to me, is over-long in terms of there being insufficient variation. Finally we have Kerb Crawler, one of the weaker tracks - but still not a bad track, just one I would not seek out especially.

Overall, the album marks a change in Hawkwind's sound from the previous albums which ran for the next few albums. The sequence of albums they made under the Charisma label remain, for me, their best: from ASAM, through Quark, 25 Years to PXR5. This album was the start of that sequence. Interestingly, a very good friend of mine said, a while after PXR5 was released, that the only Hawkwind album he still listened to regularly was ASAM.

Musically, I would put this album just on the border of five stars - it has its weaknesses, for sure - but once you throw in the wonderful sleeve of the vinyl and the special place it has in my heart a definite five star album for me.

 Homo Fractaliens by COSMIC TRIGGERS album cover Studio Album, 2017
3.97 | 6 ratings

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Homo Fractaliens
Cosmic Triggers Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

4 stars COSMIC TRIGGERS are a young new band out of Russia playing homage it would seem to Krautrock especially and Psychedelia. I was surprised how often I thought of some of the classic underground bands out of Germany from the late 60's to the early 70's. AMON DUUL II, CAN, BRAINTICKET and more. We get English vocals from the only female who also contributes with analog synths. There are ethnic instruments as well although they aren't listed specifically. They are a five piece band. Interesting to me that it was mastered by Eroc who knows a little about Krautrock.

"Introduction" gets us started with this slow moving piece that is mellow with percussion, bass and guitar. There's some cool sampled transmissions from space that will come and go as well. "Homo Fractaliens" has some energy as guitar and drums standout with female vocals. This sounds a lot like BRAINTICKET to my ears. A good uptempo track that's mostly instrumental.

"Undermind" has these spacey experimental sounds to start. This is interesting as sounds drift and drone. An ethnic instrument arrives after 2 minutes sounding abrasive as it comes and goes. "Syndicate" is such a great sounding tune with spacey guitar melodies and plenty of other sounds too. The female vocals melodies after 4 minutes really add to the enjoyment.

"Quant Um" is a little lighter and mid-paced with vocal melodies, keyboards, synths, drums and bass. It's very repetitive but excellent. "Shutsuryoku" is 4:20 in length not so surprisingly. Man this really brings CAN to mind, especially the drumming and groove. Female vocals before 1 1/2 minutes and keys will join in as well after the vocals stop.

What an enjoyable slice of psychedelia this is and I especially love the Krautrock references. And at 40 minutes this is just right. A very solid 4 star album.

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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
ADDICTHEAD 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
ALIEN PLANETSCAPES United States
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
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FAR EAST FAMILY BAND Japan
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FIRST BAND FROM OUTER SPACE Sweden
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GREYLEVEL Canada
GROUP 1850 Netherlands
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HANADENSHA Japan
HANDLINGNOISE Finland
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A HEADFULL OF MONSTERS United Kingdom
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HIGH DEPENDENCY UNIT New Zealand
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LA IRA DE DIOS Peru
IT'S NOT NIGHT: IT'S SPACE United States
IVORY Germany
IXTHULUH Austria
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JACKS Japan
ANDY JACKSON United Kingdom
JADE France
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SPEED; GLUE AND SHINKI Japan
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ST 37 United States
ST MIKAEL Sweden
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THE STARS Japan
STARVING DAUGHTERS United States
STEEO Italy
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SÜDSTERN 44 Germany
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SYSTEMS THEORY United States
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TAKO Yugoslavia
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TEETH OF THE SEA United Kingdom
TEMPLE OF THE SMOKE Serbia
TEMPLES Finland
TERMINAL LOVERS United States
TESTET ÖLT Multi-National
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THINK FLOYD United Kingdom
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TRAFFIC SOUND Peru
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UNIMOTHER 27 Italy
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VIRTUAL MAX Canada
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ZEMLJA BROJ 9 Serbia
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