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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 D▄▄L, ASH RA TEMPEL, CAN, G─A, 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 Pellonpńń
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



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Latest Psychedelic/Space Rock Music Reviews


 The Early Years 1968 Germin/Ation by PINK FLOYD album cover Boxset/Compilation, 2017
3.90 | 2 ratings

BUY
The Early Years 1968 Germin/Ation
Pink Floyd Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

4 stars Introduction

1968 was an eventful time for Pink Floyd, but not in actual music as much as the band's first shake-up. Of course, we see Roger, Richard and Nick wanting to record another album and continue with the development of the band, but Syd has become less and less reliable and having some definite mental issues, so, with the desire to push on, they bring in David Gilmour to take his place. However, there were still some residual Syd music still out there, so they kept a spot open for him and included one of his songs on their new album 'A Saucerful of Secrets'.

Without Syd in the line-up, the band's sound moved to an even more psychedelic and experimental sound, and turned away from the more poppy sound that Syd was leaning towards. Gilmour took over the lead singing and lead guitar roles, yet also allowed for the other members to take the lead role from time to time. The bump in the band line-up showed up in the lesser amount of output in the band at the time.

This probably leads to the fact that there just isn't as much rare and unreleased material for this time period, which the second box set in The Early Years series proves with only one CD with 13 tracks, and one DVD/Blu-ray disc. However, there is still a good amount of paraphernalia included in the set and also the excellent book that comes with it. 'Volume 2: 1968: Germin/ation' includes some non-album studio recordings and some BBC Radio Sessions that were recorded in 1968 on the CD, most of which were previously unreleased. The video portion of the set features 26 tracks that cover the band's appearances on various TV shows and documentaries performing songs from mostly the 2nd album, but also some from the 1st, and a few short interviews.

The CD

The CD begins with the 4 tracks taken from the two non-album singles released in 1968. 'Point Me at the Sky' features Gilmour on lead with Waters joining on the chorus. It was actually the last of the two singles to be released, and since it was a failure on the charts, the band decided to stop releasing singles and concentrate on albums. 'It Would Be So Nice' was the other A-side of the two singles. The band thought these singles were a bit sub-par and felt they better expressed themselves on albums. The songs are a bit more complex than the Barrett-era single, but the radio audience was just not ready for them. The B-side to 'It Would Be So Nice' follows; 'Julia's Dream', which was the first song recorded with Gilmour at vocals. It is also currently the better known of the 4 single tracks on this collection. The B-side for 'Point Me at the Sky' ends this section of the CD: 'Careful with That Axe, Eugene' in its edited single version which has been remastered on this collection. This is the only instrumental of the four, and is also quite well-known nowadays, but rather obscure when it first came out. This track is the most psychedelic, and probably the most like the sound that the band was moving towards. Of course, the song is most famous for Roger Water's screaming. These four tracks are all available on several different collections.

The rest of the tracks on the CD are previously unreleased. The next two tracks are from a session at Capitol Studios in Los Angeles, recorded on August 22, 1968. These tracks were fairly recently discovered and in them you can hear early traces of the main theme from 'Atom Heart Mother' and 'Cymbaline'. 'Song 1' sees a 'mellowing' of the bands sound as it is not harsh and sharp as previous instrumentals, and it meanders along nicely, but gets more abrasive towards the end when Gilmour's heavier guitar comes in. 'Song 2 (Roger's Boogie)' begins with the band harmonizing vocally, then features some lyrics and also wordless vocalizations. Again, the sound is quite mellow, but the vocals are definitely unpolished, the lead sung by Roger. Even though the title hints to an upbeat track with 'Boogie', there is no boogie involved here as it is slow with some of Mason's nice organ work. Even though it all sounds unfinished, it's still enjoyable, and a bit surprising that it is not that psychedelic or experimental sounding. The sound quality is stellar.

The next four tracks are from a BBC radio session recorded on June 25, 1968. The program that these renditions were broadcast on is here with all of announcer John Peel's comments beginning with 'Murderotic Woman' which is actually just 'Careful with That Axe, Eugene' in a much briefer version and no screams. Again, the sound is superb. This is followed by more talking by Peel and another instrumental here called 'The Massed Gadgets of Hercules', which is an early and more condensed version of 'A Saucerful of Secrets' but again condensed, less structured, definitely psychedelic. 'Let There Be More Light' follows with a mostly faithful rendition, but with enough of a difference to be interesting including a much more interesting guitar solo than the original, thanks to Gilmour, and this is followed by 'Julia Dream', again with a better mixing of the acoustic guitar. All of these recordings are quite well restored and act as a great supplement to the 'A Saucerful of Secrets' album.

The last three tracks are from yet another BBC radio session, this time recorded for broadcast on December 2, 1968. This time, Peel's comments are not included. This set begins with 'Point Me At the Sky', but the sound effects don't translate so well on this version as they do on the original single, but its not a major issue. What was quite a rarity at the time follows in 'Embryo' which was a non-album track, neither was it a single. It was originally released on a hard to find Various Artist collection called 'Picnic', but which was also included a few years later on the PF collection 'Works'. This is not a song you hear very often in the PF catalog, so it is a nice surprise to this box set. The song is very cleaned up compared to the original, and it sounds really good, almost pastoral with Wright's signature organ sound and Gilmour's vocals and acoustic guitar standing out. The last track on the album is the BBC version of 'Interstellar Overdrive' in its full glory. It is always a good thing to hear new versions of this track as, since it's mostly improvised, it takes on a new life each time. And it really becomes a new song this time, probably one of the better versions of it that I have heard, still strange and noisy, but better than ever.

So, for the CD portion of this volume, there are ample reasons why this one is a worthwhile collection for the PF aficionado and plenty to be excited about. Most of the tracks are not officially available anywhere else and the restoration of the tracks is once again quite amazing. If you already have the first four tracks on another collection, the advantage of this one is that the sound is consistent and top notch. The other previously unavailable tracks speak for themselves.

DVD/Blu-ray

The video discs start off with mimed performances from the 'new' version of the band. The problem is, they are singing the songs they recorded with Barrett, so the miming is definitely off, but it gets to the point that the band just has fun with it, singing off cue and pulling faces. The videos are not performances, but are actually 'music videos' done for the TV show from Brussels known as 'Tienerklanken' and have a recording date of February 18-19 in 1968. The videos are, as usual, quite pristine, all in black and white and have 7 performances; namely 'Astronomy Domine', 'The Scarecrow', 'Corporal Clegg', 'Paintbox', 'Set the Controls for the Heart of the Sun', 'See Emily Play', and 'Bike'. The last one is actually a photo montage while the others are action videos shot in studio and outside, and you can see people watching the boys mess around on the fringes. Even though these are mimed, the videos are quite entertaining and fun to watch, and you get the feeling that they didn't always take things that seriously, but actually seem relaxed and carefree. There is one more video following this done similarly but for the Brussels TV show 'Vibrato' for 'Apples and Oranges', again with Gilmour instead of Barrett.

Finally we get to some un-mimed material as the next 4 tracks come from a French TV show 'Bouton Rouge' recorded on February 20. The music is live and you can feel the energy in the band for these tracks (plus they are in color), and Nick Mason is on fire! His performance is quite animated and excellent here. We get to hear Gilmour sing lead parts in place of Barrett for 'Astronomy Domine' (along with Wright and in a more abbreviated version from the original) and 'Flaming' and he does quite well. 'Set the Controls for the Heart of the Sun' is then sung by Waters followed by an electrifying performance of 'Let There Be More Light' with Gilmour and Wright singing. The performances aren't perfect, but the band keeps it together quite well.

After this, there are a series of performances at various venues. There is 'Paintbox' from performed for 'Discorama' with Rick singing and the band playing with psychedelic effects superimposed over them. A short 'Instrumental Improvisation' follows which has the band playing for a documentary called 'The Sound of Change' in recorded in March. These are mostly quick scenes of riot, people and the band playing. An abbreviated version of 'Set the Controls'.' is played for 'All My Loving'. The band is in the balcony of a theater and most of it is filmed with a sepia filter to give it a psychedelic look. Another incomplete version follows, this time of 'It Would Be So Nice'. The video is quite pristine and in color on this one, but it is not a complete performance. It was shot in Rome for 'Rome Goes Pop'. Staying in Rome, we get a performance from 'Pop '68' filmed in May. This one is mostly a improvisational performance based around 'Interstellar Overdrive', but the riff for it only comes in at the end. For some reason, we don't see much of Gilmour in the video which is a shame, but we do see Waters messing around with the knobs on his bass and plenty of Mason and Wright, but Gilmour is strangely absent from the video, though you can definitely hear him. The video is well done, but unfortunately superimposes psychedelic images over that band for a good part of the 7 minute video. The ending is also quite loud.

Next, it's back to Belgium for 'Tienerklanken ' Kastival' for a performance of 'Astronomy Domine' on August 31. There is a short interview with Waters as the video begins. Again the video is pristine, but the sound is a bit distorted as it doesn't seem that the sound system wasn't able to handle the audio in the recording. The video centers mostly around Waters who does the vocals this time, and Mason. It is also heavily edited and the cuts are quite obvious. There is another short interview with Waters on the next track at the same venue as he explains that he doesn't like the acoustics there. From there, it's on to Paris, France for TV show 'Samedi et Compagnie' filmed on September 6. Here we see a much hairier Wright sharing lead vocals with Gilmour. The host speaks from the audience to introduce the band and they play the song, but fade out early when it is apparent the audience can't keep time with their clapping along. The 2nd track from the same venue is 'Remember a Day' sung by Rick, but we can't see him at all, and the rest of the band is having fun miming the song and obviously not even sticking close to the audio. Funny.

This is followed by a quick video for 'A L'Affiche du Monde' in London. It's in black and white and it shows the band running down stairs, getting on a subway and then running up a down escalator while the first half of 'Let There Be More Light' plays. You get to see the band lip-synch on the train while disinterested passengers look on. Next are two tracks from 'Tous en Scene' in Paris on October 21. The first is 'Let There Be More Light' performed after the host announces the band. Wright seems to be woefully absent and Waters and Gilmour sing the lead. The auditorium seems quite packed. The sound is a bit iffy and so is the performance. They then perform 'Flaming'. This time you can see more Wright, but mostly from the back as the camera set up is terrible and so is the sound system. The band tries their best though as Gilmour takes on the vocals.

Yet another version of 'Let There Be Light' follows, this time not lip-synched, but actually live for yet another French TV show 'Surprise Partie' on November 1. This is also a fuller version lasting almost 7 minutes with a great Gilmour solo and lots of hipster dancers who are all probably in their 70s now. Last of all, we get a restored promo video for 'Point Me At the Sky'. In this one you get to see the band supposedly flying in an airplane or doing other things.

What's Missing?

The CD and DVD/Blu-ray is the exact same as what's in the complete box set. The thing that is missing here is the same as Volume 1, the early singles in their 7' vinyl form, specifically for this set that would be both 'Point Me at the Sky/Careful with That Axe, Eugene' and 'It Would Be So Nice/Julia Dream', but at least they do appear on the CD. Also, since Volume 7 is so hard to get, the track 'Baby Blue Shuffle in D Major' which was recorded at a BBC radio session on December 2, 1968 is included on that volume, thus missing from this collection.

In Conclusion

So, in this box set, you get one excellent CD with a good amount of unreleased material and all in top quality recordings. However, it is only one CD, so the DVD/Blu-ray tries to make up for it by having a lot of tracks. The problem is, the quality isn't consistently great like it was for Volume 1. Though there is a lot of good stuff there, it is also filled with some unnecessary things and 'Let There Be More Light' is on there 5 times. I guess the video output wasn't as varied and as good during this time, but, again, there are some great clips there anyway. This ends up giving the overall collection 4 stars as the video discs don't quite make up for the lesser amount of music.

 The Early Years 1965-1967 Cambridge St/ation by PINK FLOYD album cover Boxset/Compilation, 2017
4.86 | 2 ratings

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The Early Years 1965-1967 Cambridge St/ation
Pink Floyd Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

5 stars Introduction

In 2016, Pink Floyd released a box set called 'The Early Years 1965 - 1972' which was quite a comprehensive set of rare, unreleased and live recordings made through those formative years of the band. This humongous box set contained 33 discs divided up into seven volumes, each volume with the appropriate CDs, DVDs and Blu-rays, each volume focusing on specific years. This full box set can cost around $500, and some people might not be able to part with all that money all at once, so what I hope to do is take these volumes separately for those that would rather focus on more specific sections of the PF history than the entire thing. One item that is missing by buying the volumes separately is the 7th volume, which is available by itself in Japan, but only with the CD, not the 2 DVDs/Blu-rays that come with that volume. The other items that are missing will be noted at the end of each review of the volume it would pertain to. The 7th volume didn't pertain to one specific time period, however, but sort of cleaned up some of the missing bits and pieces that didn't fit in the separate volumes.

For those not wanting to get this huge box set, each volume was later sold separately, being released in 2017. For the most part, the volumes remain intact. It is probably better to look at each volume instead of writing a very long review about the entire set, so I will review each volume as it was sold separately in 2017.

This review is for 'The Early Years Volume 1: 1965-1967: Cambridge St/ation'. This set is made up of 2 CDs, and a DVD/Blu-ray disc. Disc 1 covers studio recordings that were made during the years covered in this volume. Disc 2 contains 8 tracks from a show recorded in Stockholm in 1967 and 9 tracks recorded in studio called the John Latham studio recordings from 1967.

CD 1

The first 6 tracks on this disc were previously ultra-rare tracks recorded by the band before they were known as Pink Floyd. Their working name back then was 'The Tea Set' and these songs were all recorded around December of 1964. Before they were released as a double 7' single set a few years before, they were only a rumor. They were made available in limited quantities at that time, and now they are also available on this set. All of them are recorded in mono.

'The Tea Set' was comprised of Syd Barrett on lead vocals and guitars, Roger Waters on bass, backing and lead vocals (in one case), Richard Wright on keyboards, Nick Mason on drums and percussion, and Bob Klose on guitars. The first three songs were part of the first 7' single and were all written and sung by Barrett. 'Lucy Leave', 'Double O Bo' and 'Remember Me' were all quite basic sounds reminiscent of the sound of the day, nothing much was psychedelic or original about them, however, they are some great rockers, all of them just under 3 minutes each, and 'Remember Me' has that sarcastic Barrett sound with vocals just a touch over-the-top. The 2nd 7' single contained the next 3 tracks; 'Walk With Me Sydney' (sung by Richard's first wife Juliette Gale and Barrett together with Roger singing on the bridge) written by Roger, 'Butterfly' written by Barrett and 'I'm a King Bee', a cover of Slim Harpo that retains the bluesy sound. All of these 6 songs are well recorded and sound great in mono. All of them also have that false naivet' that was apparent in the Barrett's later PF compositions, but to a lesser level. Lovers Syd's PF will enjoy these discoveries.

The next part of the first disc contains some more familiar PF songs from 1966-67, mostly songs that were singles but were not included on the albums. Since then, however, they have been available on countless other compilations. In the case of this box set, they are all included with their cleaned up 2010 mixes. The first 5 of these tracks are in mono. 'Arnold Layne', 'See Emily Play' and 'Apples and Oranges' were previously released with these 2010 mixes on 'An Introduction to Syd Barrett'. The mixes bring out all of the sounds and restores them to their original glory. They all sound quite pristine. After this are 'Candy and a Currant Bun' and 'Paintbox', one of the rare examples of Richard singing lead vocals. After this point, the rest of the tracks on this first disc are in stereo, but still in the 2010 mixes. 'Matilda Mother' appears in the alternate version that appeared on 'An Introduction to Syd Barrett' except this time it is slightly extended. The remaining tracks are all previously unreleased, again all in 2010 mixes to retain a constant sound. 'Jugband Blues' comes from the band's second album 'A Saucerful of Secrets'. Next is the rare track 'In the Beechwoods'. This track was considered to be a lost track recorded in 1966 along with two other unavailable songs. There are no vocals on this track, and it sounds like a backing track to what would have been what sounds like a great song if it had been finished. 'Vegetable Man' was one of those bootlegged tracks that made the rounds and ended up becoming a well know track, but this set is the first time it was officially released by the band. It was originally intended to be a follow up single to 'See Emily Play', but ended up getting shelved. The song was going to be included on a Barrett rarities collection along with the last track 'Scream Thy Last Scream', but the band blocked that. Both of these tracks are more progressive oriented in that they contain a lot of tempo shifts and non-standard structures.

This CD of rare and unreleased early gems have high quality sound and is quite a valuable collection of tracks for those that love early Pink Floyd. Even if nothing else in this first volume was worthwhile, this disc would be worth the price of admission all on its own. PF's early years were the years that took me the longest to get interested in, but now that I am, I can't get enough of it, and this disc is like a major treat.

CD 2

The second CD takes on more of the lengthy, psychedelic and experimental tracks that were being played by the band at the time. The first 8 tracks are taken from a concert at Gyllenne Cirkeln in Stockholm, Sweden, recorded on September 10, 1967. The recording is somewhat low in quality, but is still listenable. It starts with a short track where the band was introduced to what sounds like a small crowd and goes quickly into a psychedelic instrumental called 'Reaction in G'. Sometimes this piece has lyrics, but not in this case. It starts as a moderate piece with the repeating bass riff surrounded by loud guitars and keys, then the tempo speeds up and slows interchangeably as the instruments make improvised noise around it. Even though the next track is 'Matilda Mother', don't expect many vocals anytime during this concert. The chords from the guitars make it easy to hear the melody in your head, and as it continues, the wailing organ and guitars help you keep track of where you are at in the song. At one point you can hear singing, but its very subdued. A long, exploratory and experimental 'Pow R Toc H.' follows and goes into a 12 minute trip of psychedelia with the kooky, vocal sound effects at the beginning. This low-fi sound continues with 'Scream Thy Last Scream', 'Set the Controls for the Heart of the Sun' (where you can hear more vocals but they are subdued, but since the original's vocals were subdued anyway, it is very recognizable), 'See Emily Play' and 'Interstellar Overdrive'. Not the best recording or concert in the world, but it does show a window that we can travel back in time through to hear the band jam in its infancy.

The 2nd half of the CD is made up of tracks entitled 'John Latham Version 1' through '9'. John Latham was an artist and these tracks are all improvisations that range from 2:37 to 5:06, so nothing really too long. The tracks were recorded at De Land Lea Studios in London on October 20, 1967. They are somewhat similar to the extended improvisation from the middle section of 'Interstellar Overdrive'. The recording quality is much better on these tracks and the sound is very free form and experimental. The tracks all flow together so its not easy to tell when one starts and another ends, as the performance is really just one single improvisational session broken up into 9 tracks.

This 2nd CD is not going to appeal to many listeners as it is the band at their most improvisational. The songs that most will recognize are mostly instrumental and the sound quality is sub-par, but the John Latham Versions are of a better quality, so if you love the psychedelic and experimental sound, then this disc will be of some value to you. Most likely though, the die hard fans will probably be the only ones interested in this one.

DVD/Blu-ray

The DVD and Blu-ray discs have identical track lists which range from rare promo videos, performances and interviews. It starts with the video promo for 'Chapter 24' that originally was on 'Piper at the Gates of Dawn' album. The song is in the same form as on the album and the video is of members of the band having a romp in the country and then in the city with some uncomfortable facial close-ups. After this is a more interesting video of the band messing around with their instruments in order to create the psychedelic sounds of 'Nick's Boogie' while an excerpt of it plays for the audio. The first part shows them in studio and this later switches to a live setting with people trying to dance. The next video is taken from Granada TV and a short documentary about the Underground Scene where Pink Floyd plays an edited 'Interstellar Overdrive' while a narrator talks about the psychedelic scene in London. The video is in black and white but fairly cleaned up, quite intriguing and even a bit funny as you watch people explore this art movement.

This is followed by the promo music video for 'Arnold Layne', a nice black and white video that is artfully done with the band on the beach with a mannequin. The style actually seems well produced that it could have easily fit with the videos of later times. The next video is from a program called 'The Look of the Week' which is hosted by a chap named Hans Keller. It starts off with the strange vocal shinanegans of 'Pow R Toc H.', but only plays a short snippet from that before Hans talks to his audience about how the music always has to be too loud for his taste. After he chats to the TV, the band plays through a shortened version of 'Astronomy Domine' featuring Syd playing up the part. After they finish, Hans interviews Syd and Roger. The video is in black and white and is quite cleaned up. The interview gets into why the music is so loud and does a great job of showing the widening of the generational 'gap' of the time. It's an excellent insight into the band, Syd and Roger.

Next there are a couple of their promo videos. The first is 'The Scarecrow' which sees the band in the country again, this time messing around with a scarecrow as the familiar version of the song plays. It is introduced by a narrator in the beginning. 'Jugband Blues'. This one at first shows Syd standing and staring into the camera as he plays and sings the song, the band comes in later, playing the brass instruments and then everything turns psychedelic. Both of these videos are in color. They appear on 'American Bandstand' next with a black and white video of them lip-synching the strange 'Apples and Oranges' while Syd stands there looking quite sad for being there. Dick Clark comes out and does a quick interview about British and American food and each member politely answers his dumb questions.

Next is a piece of a documentary called 'Tomorrow's World' where the narrator explains new techniques (at the time) of mixing light and sound. They show how they make psychedelic patterns while Pink Floyd does a short instrumental improvisation. The camera flips back and forth from the band to the psychedelic light patterns and a Siamese cat. Another B&W video of a German documentary called 'Die Jungen Nachtwandler' features Pink Floyd playing the improvised portion of 'Interstellar Overdrive' while showing shots of the audience listening and dancing crazily. The narrator speaks in German and then titles roll.

There is a video in black and white of the band performing 'See Emily Play' on the show 'Top of the Pops'. The audio is pretty much the same as the recorded version, so it's probably all lip synched, though you can see Syd breaking out in a sweat. We see more of the band playing around with a scarecrow for 'The Scarecrow (Outtakes)' which again features the same version of 'The Scarecrow' but this time with additional color shots that were not used in the finished promo video. This is all rounded off with a full (finally) performance of 'Interstellar Overdrive'. The problem is, instead of being a concert performance like I hoped, it's a poorly done psychedelic film with the studio version of the track playing through it and a German recitation of a Timothy Leary poem. Oh well, at least the other video snippets are pretty good.

What's Missing?

The only applicable thing that is missing from this set that is available in the complete box set are the 3 replica vinyl singles: 'Arnold Layne'/'Candy and a Currant Bun', 'Point Me at the Sky'/'Careful with That Axe, Eugene', and 'It Would Be so Nice'/'Julia Dream'. This is something, as a vinyl collector, that I would have loved to have, but it isn't a necessity unless you have the money to pay for the full box set.

In Summary

This is a pretty good collection of some of the rare tracks, many of which were not officially or readily available in one collection before the release of this volume. The first CD is quite a valuable disc as far as bringing the early, non-album tracks together, and the quality of the recordings is excellent. This disc alone will be worth it for most Pink Floyd lovers. The 2nd disc is a bit more iffy. Even though the songs in the Stockholm part of the disc are mostly instrumental, it would have been nice if the vocals that are there were more audible. The sound isn't great, but its also not terrible. The long improvisational section is all previously unreleased, but will probably only appeal to the fans that have to have everything. I found them interesting for about the first 10 minutes, after that it seemed to go on too long, but I may grow to like them over time. The DVD/Blu-ray features are excellent, except for maybe the last track which was not what I hoped for, but the interviews, videos and performances are excellent windows into the band and the lifestyle of the psychedelic underground of the time. Disc 1 is 5 stars, disc 2 is 3 stars, DVD/Blu-Ray is 4 stars. Add to this the value of this set being worth what you will pay for it, and also figure in the convenience of not having to pay over $500 for the combined box set which might have material that you don't care for, the fact that this focuses on one important stage in the band and their development, this is a definite must have for Pink Floyd fans and it should be attractive to casual fans also, especially if you want more of the early stuff. 5 stars.

 Sky Over Giza by MORTE VIENE DALLO SPAZIO, LA album cover Studio Album, 2018
4.00 | 1 ratings

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Sky Over Giza
La Morte Viene Dallo Spazio Psychedelic/Space Rock

Review by Agnenrecords

— First review of this album —
4 stars I first came across La Morte Viene Dallo Spazio when they were billed to appear at a gig in Genoa, Italy, in January 2020 with local band Melting Clock organised by local record shop and label Black Widow Records. I was unable to get to the concert but I was intrigued by the description of their music, initially listening to the whole of Sky Over Giza on Bancamp before committing myself to buying the album on vinyl - there are 10 different coloured vinyl versions representing different planets/stars, with a combined pressing of 300 copies. Their name, which translates as Death Comes from Outer Space is derived from from the original title of the 1959 Italian sci-fi film 'The Day The Sky Exploded'. First track Sky over Giza sets the mood. Utilising Eastern scales this is intelligent space rock (their live performances are dubbed 'Space Rituals' although there is no riff-heavy guitar or driving rhythm that you'd get from Hawkwind in the early 70s.) There are hints of early Floyd space rock. It's fairly high-tempo with plenty of cosmic flute floating above synth drones, enhancing the Eastern flavour. The mid section has some nice Mellotron patches. Zombies of the Stratosphere is the only track with lyrics which, combined with its relative brevity, gives it a more structured format - curtailed by a free-form section that includes wordless vocals. If anyone was expecting early Hawkwind, this track comes closest. Sigu Tolo begins dark ambient free-form and drifty until a drum pattern kicks in with synth washes floating above and restrained guitar that could have been played by a young Dave Gilmour. This is more UK space rock than its continental cousin, ending with a lengthy guitar-groove and a repeated short synth motif. Mors Vocat is darker, beginning with an almost industrial section before going free-form with some nice acoustic bass and keyboard work that seems to have been inspired by A Saucerful of Secrets then returning to free-form with a short percussive battery that resolves into eerie synth. Fever, the longest track at 13'46, is reliant on delayed guitar and drones producing an unnerving or threatening atmosphere. The delay timing almost represents a rhythmic element and though there's little development it sustains tension until the final resolution where calming keyboard ripples signal the end of the fever. This album was made to be played in the dark, a soundtrack to an (inner or outer) space exploration. It's got some nice 70's sounding instrumentation and the production is clean. I'm not a fan of Hawkwind though I accept Space Ritual is a classic. I don't detect any doom rock though the tag of 'dark ambient' seems entirely appropriate. It's my kind of space rock - an easy 4 stars.
 Solitaire by ALC└NTARA album cover Studio Album, 2019
3.39 | 5 ratings

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Solitaire
AlcÓntara Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Crossover Team

3 stars This is the debut album from Alc'ntara, who are based in Sicily's second largest city, Catania. Sicily may not be a hotbed of progressive rock, but of course Italy has always been a major market. However, this is not RPI in any sense at all, but rather a far more modern take. According to the band, 'Solitaire' is a concept album exploring the meaning of resistance in liquid modern times and is a journey through space rock, progressive ballads and psychedelic blues. All lyrics are in English, and while all three of the above genres are well represented, often at the same time, there is also a feeling of indie rock, Muse and Jadis about the proceedings as well.

It is an incredibly atmospheric album, and the vocals fit perfectly with the music, which for the vast majority of the time is very laid back indeed. When listening to individual songs one finds this incredibly impressive and fascinating, as the reverb and textures really bring the listener in closer. However, when it is like this for pretty much the whole album it does tend to lose the effect and instead becomes something where the sum of the parts is certainly less than the individual. There just isn't enough contrast within the album, and whereas some metal bands suffer by being too loud all the time, the opposite is true here. Without the use of contrast and dynamics it becomes a chore to listen to as opposed to a joy, which is a real shame as the individual songs are all very good indeed. By the time I came around to listen to this for the third or fourth time I knew what to expect, and wasn't really looking forward to the experience, as I knew by the end I would be seeking out something quite different as a musical earwash.

But, I am also aware there will be plenty who want to listen to music which is never New Age or Ambient, and is always 'proper' songs, yet is incredibly laid back even though the electric guitar is an incredibly important instrument throughout. This is definitely a band to keep an eye on as they are showing great promise, but need to provide more emphasis in places.

 Sad Cypress by IVORY album cover Studio Album, 1980
3.34 | 59 ratings

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Sad Cypress
Ivory Psychedelic/Space Rock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars A German prog band, late comers to the scene in 1979, founded by father and son Ulrich and Thomas Sommerlatte, the former of which was, at the time, 65 years old with 43 years conducting orchestras in the classical music scene before discovering the progressive rock scene. The "romanticization" of the "classic" prog music bands and albums was being born and launched nowhere with so much vigor as here, in Germany, by bands like Eloy, Neuschwanstein, and Anyone's Daughter, but there may have been no artist so eminently capable to sponsor this trend--both compositionally as well as through reputation previously earned--as Ulrich Sommerlatte; though imitative of bands like Genesis, The Strawbs, ELP, and even England, the maturity and sophistication in these compositions, their instrumental arrangements, and their sound engineering are most likely far beyond what you will hear from any other debut album.

1. "At This Very Moment" (3:57) GENESIS styled with a Peter Gabriel like vocal, this is a gorgeously constructed and textured song with equally stunning sound engineering. (And the vocals are not as bad as other reviewers are saying!) (9/10)

2. "In Hora Ultima" (7:12) with lyrics sung in Latin! Impeccable sound and arrangement. Could be Hogarth-era MARILLION! (13.25/15)

3. "Sad Cypress" (8:34) this instrumental opens like a classical composition that has been transposed for rock/prog instrumentation. There is a drastic shift at the end of the third minute which leads to a Gabriel-era GENESIS song. (17/20)

4. "Time Traveller" (4:15) jumps out straight into the S-bahn with clavinet, organ, and Moog supplying the feature instruments with the (now) usual stellar sound engineering. A slower section takes over in the second minute in which "Stagnation"/"Entangled"-like synth is in the lead. Interestingly, the supporting instruments shift and trade for a bit before a tempo shift leads to an ALLMAN BROTHERS-like theme. (9.25/10)

5. "My Brother" (13:52) A Foxtrot-era GENESIS epic complete with Gabriel-esque theatrics. Good but it feels as if its's been done before. (26/30)

BONUS TRACKS (from the 1992 CD release):

6. "The Great Tower" (9:44) opens with an excellent church organ intro section. Vocal sounds more like STRAWBS' Dave Cousins. As a matter of fact, the entire song has a much more STRAWBS-like sound and feel to it than the pre- established Genesis influence. (19/20)

7. "Incantation" (4:42) the most bouncy poppy prog song on the album. Again, this is so much more STRAWBS-like than Genesis. (I even hear a little ENGLAND in there!) (8.25/10)

8. "Construction N░ 2" (2:29) an organ Útude employing "pan pipes," "accordeon," and "nylon string guitar" sounds before finishing with a SynthAxe-like sound in the lead. (4.5/5)

9. "Barbara" (13:45) opens as a piano and flute duet until 0"49 when "strings" and voice enters.At 1:38 shift to a still, slow and spacious section until 3:50 when bass pedals thrum into the soundscape. At 6:15 a "zither"-supported "flute" solos. At 7:00 the music intensifies. The DAVE COUSINS vocal sound is so strong! The music softens again in the ninth minute before an instrumental section with church organ takes the lead. At 10:35 everything falls away with an electric piano filling the space as if it's doing a classical concerto! Very cool! This is such a powerfully emotional song (sad and nostalgic)! The writer/composer obviously loved this person very deeply. (29.5/30)

Total Time: 68:30

It is my typical habit of reviewing an album that was originally released on vinyl based upon its original track number, but there are the rare occasions, such as this, in which I have deemed the "bonus" material to be appropriate to include. The four bonus songs here have the unexpected distinction of being both obviously contemporary to the original tracks and being perhaps superior to the ones included in the original edit.

B+/4.5 stars; a near-masterpiece of neo-progressive rock music and an album not to be missed for it's finely crafted, richly textured, well-produced songs.

 The Later Years 1987 - 2019 by PINK FLOYD album cover Boxset/Compilation, 2019
3.59 | 8 ratings

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The Later Years 1987 - 2019
Pink Floyd Psychedelic/Space Rock

Review by jude111

3 stars I was nearly out of my teens and a huge Floyd fan when the band re-constituted, and I was over the moon about it. I enjoyed A Momentary Lapse of Reason immensely, while recognizing that the band was not quite what they used to be. The album was too slick and 80s sounding, but I did enjoy a few tracks - One Slip and Dogs of War in particular. A few years later, the live album Delicate Sound of Thunder came out, and it was my dream come true: Finally, a live Floyd album! I had just taken up jogging, and I always associate those running days with that live album, since it was all I listened to when I ran.

So I was curious about this new release. They've "remixed" Momentary Lapse, and included new songs previously left off Delicate Sound of Thunder. The remixed album (live drums now, and Wright's keyboard have been restored) is interesting, but in my opinion the original version is still the definitive versions. Some things have been added (Wright's keys), some are gone (e.g. Gilmour's "awww"s on Dogs of War during the sax solo).

The biggest selling point for me is the restored tracks on the live album, especially Welcome to the Machine and One Slip. I was blown away by the live version of Welcome to the Machine in particular. It's so lively, and such an interesting take on the classic, that's it's shocking the band left it off the original release. The only thing that saddens me is that the 20 year old me missed out on it, back when I thought they were the greatest band on the planet. (Now if we could only get an official live version of Poles Apart added to Pulse in the future...)

On the other hand, the live album too has been "remixed." Not only is the mix much different from the original Delicate Sound of Thunder album, but I believe that originally the band had "improved" the tracks by working on them in the studio. But now it seems they've undone that. Again, I prefer the original "improved" mixes. I noticed the biggest difference with Comfortably Numb, especially in the vocal sections that Waters used to sing. I much prefer the original DSoT version. The changes are such that it's practically a different live album now, which isn't a bad thing...

 Instinto by EKOS album cover Studio Album, 2020
4.12 | 22 ratings

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Instinto
Ekos Psychedelic/Space Rock

Review by eddiefang

5 stars As 2020 arrives, Ekos release their long awaited third album, Instinto. The songs show their musical background, their current interests and the great musicianship the band is known for. Going from rockier moments to moodier ones, passing through catchy songs and of course with a great Prog epic which is where they flex their musical muscles creating a song which has quickly become my favorite from the band. The particular situations Ekos went through during the recording of the album helped them create a diverse range of songs which show them as mature musicians and clever lyricists. One can't help noticing the clarity of the voices and the interacting of both lead singers (Jes˙s and Ana) which have become a staple of the band along with their instrumental prowess. The songs: 1. Vuelve A Mirar (Look Again) is very energetic, with intense singing and a streamlined sound away from what the band is known for, with a very direct message on the lyrics which advise us not to follow what is established if we don't feel comfortably with it. 2. Fiel Obsesiˇn (Faithful Obsession) is an accessible and catchy song which showcases one of the trademarks of Ekos, which is the lead vocalist complementing each other, with tasty keyboard and guitar fills. Iit can easily broaden the spectrum of fans for the band. 3. Mi Vida en Ti (My Life In You) has a beautiful intro, a somewhat melancholic song adorned with tasteful work on guitar, pleasant ambients and an abrupt but nice ending. 4. Creando VacÝos (Creating Vacuums) is the tour-de-force of the album, a great Prog epic on which all the members have a chance to be in the spotlight, with a strong beginning that slows to a calm section which builds up to an awesome instrumental section on which a great keyboard solo sets the pace for a rollercoaster of musical emotions on which all members have an opportunity to shine. Surely it will become a most requested song live. 5. En-Contraste (In Contrast) is an acoustic song with a double-entendre lyric on which once again both vocalists complement each other very well. The acoustic guitar playing is excellent, departing from the sound the band is known for, with very subtle but tasteful contributions from the rest of the band. 6. Mi ┌ltima Voz (My Last Voice) ends the album on a quiet and melancholic mood, enhanced by beautiful ambients and the rest of the band joining in a strong ending. Overall a diverse and very enjoyable album on which every song has its own personality, and with the right length of nearly 44 minutes, it really should attract the attention of a broader range of followers of this excellent band. Five stars.
 Instinto by EKOS album cover Studio Album, 2020
4.12 | 22 ratings

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Instinto
Ekos Psychedelic/Space Rock

Review by belatarr

4 stars They did it yet again and this time reinventing their sound. Ekos has woven a sonic tapestry filled with various styles that produced a cohesive album whose sound is paradoxically hard to pin down. They sound better than ever studio wise, the keyboards are on a whole new level and Jesus's voice sounds so ethereal it's heart breaking.

Every track is meticulously crafted, showing the bands prowess without being unnecessarily technical. We can hear how good they play their instruments but that's not what they're here for. They want to play their music and take us on a journey. Carlo's drums are tight and rhythmical, Vic's bass has never sounded so powerful and Jesus's guitar is still mesmerizing, melancholic. Like I said, Ana's keyboard playing is just outstanding and her arsenal of sounds has expanded even more. One needs only listen to "Creando vac'os" and "En-contraste" to appreciate the size of the spectrum their new sound covers.

I've given the album two spins and I know I need a few more to appreciate what they've done and understand the departure from the purely prog rock sound to their own sound. The "Eko's sound". But my God is it a happy departure because I can't wait to hear more of this new Eko's sound. It's really, really good.

 Instinto by EKOS album cover Studio Album, 2020
4.12 | 22 ratings

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Instinto
Ekos Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

4 stars Even though the Psychedlic/Space Rock band from Mexico called 'Ekos' was formed in 2005 as a cover band for Pink Floyd, they didn't release their first album until 2012 after they first started creating their own material and felt that their band was solidified enough as the quartet of Ana Camelo (vocals, keyboards), Jesus Torres (guitar, voices), Victor Juarez (bass) and Ricardo Castro (drums). After releasing their debut album, however, in 2015 Castro was replaced with Carlos Cleriga, and the band released a second album.

Early in January of 2020, the band, retaining this line up, produced another album called 'Instinto'. This album is made up of 6 tracks ranging from over 4 minutes to over 14 minutes and has a total run-time of over 43 minutes. Both vocalists take part in the tracks on this album, yet I am not sure which one is which. The lead singer for the first track 'Vuelve a Mirar' (6:01) has a higher vocals and the other has a definite different, more mature sounding vocal, which can be heard on the second track 'Fiel Obsesion' (4:39), where both vocalists sing and the listener can tell the obvious difference in their vocal tone. This helps a lot with the variety in the sound. These first tracks are definitely accessible and easy enough to listen to with a lot of balance between all of the instruments, but neither one of them featuring a lot of instrumental work, mostly driven by the Spanish lyrics. The music is catchy and drives forward quite well, but really doesn't sound much like a psychedelic or space rock band.

The guitar riffs are more apparent in 'Mi Vida en Ti' (4:31) with a more progressive and heavier sound which softens when the vocals come in. There is enough going on in the music to keep the listener interested, but it also continues to be mostly accessible and contains more guitar work which also helps bring the music up a level and the build up of energy in the track also creates the emotion that is needed. 'Creando Vacios' (14:43) begins with a chanting crowd followed by bass, drums and guitar churning and rolling along, creating excitement and interest in what starts to develop into one of the standout tracks on the album. The music calms, then floats along in the first semblance of psychedelia so far. Vocals finally come in and a bit of intensity develops as the music becomes more expressive along with the singing. After 4 minutes, things really start getting interesting as guitars darken the mood and keys come swirling in heralding in an extended instrumental orgy of amazing music and ever changing textures. It took a while, but now the album has become quite exciting. All of the instruments get chances to shine, and they do with organs, guitar, bass and drums all working off of each other a progressive style, but, again, not delving so much into the psych or space rock realms as much as the Heavy Prog sound. Vocals return after 9 minutes when the music softens again, but the instruments take over again even before a minute has elapsed as the guitars get a chance to show off in some rousing solos. Excellent track.

'En ' Contraste' (5:14) is driven by a heavily strummed acoustic sound and is soon joined by the vocalists. One can hear a bit of the Pink Floyd influence here, but its done quite well. Halfway through, the bass and drums join in. The song is nice, more ballad-like, yet nice, filled with acoustic riffs and hooks and a nice vocal melody. The album ends with 'Mi Ultima Voz' (8:29). This one starts off with acoustic guitar, atmospheric keys and vocals, soft and mellow like the last track, but developing into more forward movement as the drums come in later. The tempo speeds up and becomes more involved after the 5 minute mark.

The music on this album is very pleasing and nice, but the best part of it is in the last three tracks, which, fortunately, contain the two longest tracks on the album. Except for 'Creando Vacios', the level of progressive style is light, but the music is still very enjoyable and has a lot of depth. The lyrics are all in Spanish, but that is hardly noticeable because the music is so well composed and played. When all is said and done, it is an album I would return to, even if it doesn't have a strong progressive feel or even if it isn't exactly what I would consider psychedelic or space rock, it is still well done. To me, it definitely leans more towards a 4 star album.

 Infest The Rats' Nest by KING GIZZARD & THE LIZARD WIZARD album cover Studio Album, 2019
3.72 | 18 ratings

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Infest The Rats' Nest
King Gizzard & The Lizard Wizard Psychedelic/Space Rock

Review by Kempokid
Collaborator Prog Metal Team

4 stars In an unexpected, and honestly extremely cool change of pace, King Gizzard and the Lizard Wizard decided to almost entirely eschew the psychedelic roots of their core sound for Infest The Rats Nest, replacing it with the sound of pure thrash and stoner metal. This was especially promising given how consistently exciting the band's heavier albums were, the teaser single of Planet B solidifying such hype. After listening to this album a number of times, I can safely say the the excitement I had for this was founded, as this album is consistently engaging in its breakneck intensity and apocalyptic atmosphere, with each track feeling sufficiently different as to not making it a slog to get through, despite clearly taking extensive inspiration from classic thrash like Metallica.

As previously mentioned, Planet B definitely sets up the album incredibly well with fast paced drumming and classic, chugging riffs which really establish this aggression that's trying to be achieved, the intro leading into similarly unexpectedly deep vocals reminiscient of the vocals of Sleep. The rest of the song continues quite strongly in a similar fashion, not really doing anything new or crazy, but continuing amazingly as a powerful, aggressive thrash metal track that sets the stage perfectly. Mars For The Rich shakes things up with a more bluesy, hard rock kind of track, which reminds me of Black Sabbath's Hole In The Sky without sounding like a copy of it. The song has a cool, driving bassline and some really cool lyricism to go along with it all, coming together to make for one of the album's most memorable songs. Organ Farmer unfortunately represents the worst elements of thrash for me, focusing primarily on stuffing as many solos into a short track, with everything feeling very stilted, overall a very mediocre song.

I feel the album really kicks it into high gear from this point onwards with Superbug however, channeling the sound of stoner metal and creating an incredibly powerful 7 minutes, and definitely the heaviest moment on the album. What I find especially impressive about this is how it manages to maintain a slow, crushing pace throughout, becoming especially intense during each absolutely immense repetition of the chorus. While the Venusian songs are both good, it's the remaining 3 songs that really stand out. Perihelion brings further freshness to everything with its more grandiose presentation, culminating in a reprieve from the heavier nature of the album through the one moment of the vocals being higher pitched and more melodic, without completely sacrificing the identity of the album, making for a breath of fresh air, providing for a more engaging experience. Self Immolate is tied with Superbug as my favourite cut off this album, for embodying the cmoplete opposite of what Superbug did, being the most insane track here, seemingly never slowing in pace, the chorus merely making everything sound that much more wild. I think that it's always a great sign when a song can make me compulsively headbang along to it and sound so intense at the same time. Hell is the track that everyone seems to remember for one thing, and that's its final minute, not that I can dispute that, as it is definitely one of the absolute greatest moments on the album, having such insanely cool riffing that builds up in such a satisfying way to make for an equally as satisfying conclusion.

While not really much more than a classic thrash album in amny respects, I feel that the additional styles put on here, such as some hard rock and stoner metal elements provides this album for some great variety to break up the monotony that can be caused by too much of a singular heavy sound. I find this to be one of my absolute favourite albums from the band for being able to make such a faithful recreation of classic thrash without sounding like a carbon copy of it, not to mention actually being exciting all the way through like only the best of the best are able to do for me when it comes to this genre. While not the first place I'd point someone to when trying to get into this band, since it's so different to the rest of their material, it's nonetheless an album that I think is amazing in what it does, and would be getting a 5 stars if not for the fact that in a prog setting, this isn't what I'd consider an essential album.

Best tracks: Mars for the Rich, Superbug, Perihelion, Self Immolate

Weakest tracks: Organ Farmer, Venusian 2

Verdict: While not representative of King Gizzard in any major form, this is nonetheless one of my favourite albums in their discography for its consistency yet cohesive variety at the same time, making the album one that I find engaging from start to finish. It's something I strongly recommend to those who are fans of thrash metal, as I think you'll definitely get a kick out of this.

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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
ACID ROOSTER Germany
ACTION & TENSION & SPACE Norway
AD'ABSURDUM Switzerland
ADDICTHEAD Switzerland
AGAMEMNON Switzerland
AGUSA Sweden
AHKMED Australia
AHORA MAZDA Netherlands
AKASHA Norway
ALAMEDA 5 Poland
ALASEHIR United States
ALBER JUPITER France
ALC└NTARA Italy
ALEX DELIVERY United States
─LGARNAS TR─DG┼RD Sweden
ALHAMBRA Italy
ALICE France
ALIEN PLANETSCAPES United States
ALIENTAR United States
ALITHIA Australia
ALMUADEM Portugal
ALPHA NORD Germany
ALPHA OMEGA Australia
ALRUNE ROD Denmark
AMARIONETTE Portugal
AME SON France
AMGALA TEMPLE Norway
AMONULLUNOMA Ireland
THE AMORPHOUS ANDROGYNOUS United Kingdom
AMPACITY Poland
AMPLIFIER United Kingdom
ANALOGY Italy
ANDROMEDA SPACE RITUAL Poland
ANGEL'IN HEAVY SYRUP Japan
ANNOT RH▄L 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
ASTRAL SON Netherlands
ASTRALIA Italy
ASTRODOME Portugal
ATAVISM OF TWILIGHT United States
ATAVISMO Spain
ATAXIA United States
ATHENE NOCTUA Italy
ATLETA Spain
ATOMIC SIMAO Ukraine
ATON FIVE Russia
AURORIS United Kingdom
AUTOMATISM Sweden
AVARUUSKORPRAALI PAHA HIRVI Finland
AXE United Kingdom
AYAHUASCA DARK TRIP Multi-National
AYERMANIANA Argentina
BABILS Belgium
BABY GRANDMOTHERS Sweden
BACHDENKEL United Kingdom
BACKSTREET ROMEOS Germany
BAIKAL United States
BAND OF RAIN United Kingdom
THE BAND WHOSE NAME IS A SYMBOL Canada
BARDO POND United States
BARN OWL United States
BARRETT ELMORE Sweden
BARROWS United States
MASAKI BATOH Japan
B╦IRUTH Spain
BEYOND-O-MATIC United States
BIG RED PANDA Portugal
BLACK BOMBAIM Portugal
BLACK LIGHT SECRET United Kingdom
THE BLACK NOODLE PROJECT France
BLACK SCIENCE United States
BLAND BLADEN Sweden
BLIM United Kingdom
BLONDE ON BLONDE United Kingdom
BLUE PHANTOM Italy
BOAT BURNING United States
BOSQUES Argentina
CHRISTIAN BOUL╔ France
BRAINSTORM Australia
BREMEN Sweden
DAVE BROCK United Kingdom
BROTHERHOOD OF THE MACHINE United Kingdom
BROWN SPIRITS Australia
ARTHUR BROWN'S KINGDOM COME United Kingdom
BUHO ERMITANO Peru
BUNNIES United States
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
CARR╔.LADICH.MARCHAL Multi-National
CATHARSIS France
CATS ON THE ROOF Ukraine
CAULDRON Sweden
CAUSA SUI Denmark
CAVE United States
CEDITH Turkey
CENTRIC JONES United States
LES CHAMPIGNONS Canada
CHARLIE & ESDOR Sweden
CHICKENCAGE EXPERIENCE Germany
CHILLIWACK Canada
CHIMERA United Kingdom
CHROMA KEY United States
CHROMIUM HAWK MACHINE United States
CIOLKOWSKA Russia
CIRCLE Finland
CIRCUS 2000 Italy
COBALT BLUE Brazil
COBRA FAMILY PICNIC United States
COCK C'NELL Japan
COLD SUN United States
COLORSTAR Hungary
COLSTER Italy
COMA STEREO Slovenia
COMETS ON FIRE United States
LA COMPAGNIA DIGITALE Italy
O CORVO MUDO Portugal
COSARARA Italy
LAS COSAS Argentina
THE COSMIC DEAD United Kingdom
COSMIC FALL Germany
COSMIC TRIGGERS Russia
COSMIC TRIP MACHINE Belgium
COSMONAUTTRANSFER United Kingdom
COSMOS FACTORY Japan
CRACKED MACHINE United Kingdom
CRANIUM PIE United Kingdom
THE CRAZY LEFT EXPERIENCE Portugal
CRIPPLED BLACK PHOENIX United Kingdom
CRONOMAD Mexico
CROW United Kingdom
CRUMBLING GHOST United Kingdom
CUCUMBER FARMER Finland
CUZO Spain
D SOUND Hungary
D'ARCANA United States
DARK BUDDHA RISING Finland
DARK SUN Finland
DARXTAR Sweden
DASPUTNIK Finland
DATETENRYU Japan
ALAN DAVEY United Kingdom
DAY OF PHOENIX Denmark
DAY SHIFT United Kingdom
DE CRONOPIOS Argentina
DEAD MEADOW United States
DEAD SEA APES United Kingdom
DEAF SCENE United States
DEEP SPACE DESTRUCTORS Finland
DEIGEN Japan
DHVANI Italy
EL DIABLO Mexico
DOMBOSHAWA Sweden
DOMO Spain
THE DOPPELG─NGERS United States
DOWNLOUDERS Italy
DR HASBEEN United Kingdom
DR. TOTEM Mexico
DRAGONTEARS Denmark
DRAGONWYCK United States
DRAHK VON TRIP Sweden
DREAM MACHINE United Kingdom
DRUNKEN GUNMEN Australia
DUNGEN Sweden
DUNST Germany
THE EARLIES Multi-National
EARTHLESS United States
EARTHLING SOCIETY United Kingdom
EASTERN SYNDROME Russia
EATING.SEATS Italy
ECHOLOT Switzerland
ECSTATIC VISION United States
EDEN ROSE France
EDGAR'S HAIR Netherlands
EGO ON THE ROCKS Germany
THE EGOCENTRICS Romania
EGYPTIAN KINGS Portugal
EIDETIC SEEING United States
EKOS Mexico
EKTROVERDE Finland
ELECTRIC EYE Norway
ELECTRIC MOON Germany
ELEVATOR Canada
BRIAN ELLIS United States
ELOY Germany
AN EMERALD CITY Multi-National
ENDWORLD HALOS Finland
THE ENTRANCE BAND United States
EQUATIONS Portugal
ESCAPADE United States
ETER-K Peru
ETERNAL TAPESTRY United States
ETHIVA Spain
EVEL GAZEBOW United Kingdom
EYE United States
F/I United States
THE FACEDANCERS United States
FAIRUZ DERIN BULUT Turkey
FALSOS CONEJOS Argentina
FANTASY United States
FAR EAST FAMILY BAND Japan
FAR OUT Japan
FARFLUNG United States
MICK FARREN United Kingdom
THE F╦RTILITY C▄LT Finland
FIFTY FOOT HOSE United States
FIRECLAN United States
FIRST BAND FROM OUTER SPACE Sweden
FISH EYE LENS United States
FJODOR Croatia
FLEUR DE LIS Denmark
FLOORIAN United States
THE FLOW Greece
FLOWER TRAVELLIN' BAND Japan
FLOWERS MUST DIE Sweden
FÍLLAKZOID Chile
FONYA United States
FOOD BRAIN Japan
FORCE MAJEURE Hungary
THE FORMLESS FORM United States
FRAKTAL Argentina
FROGGIE BEAVER United States
FROLIC FROTH Mexico
FROM GROTTO Finland
FROZEN GEESE United Kingdom
FUNGAL ABYSS United States
FUNGUS HILL Sweden
THE FUTURE KINGS OF ENGLAND United Kingdom
GALACTICKA Finland
GAL┴PAGOS Argentina
THE GATE TO ALPHA CENTAURI United Kingdom
GDEVA Russia
GHOST Japan
THE GIANT HOGWEED ORCHESTRA Finland
GLASWALD Germany
GLOSSOLALIA Multi-National
GO-NEKO! Argentina
GOAT Sweden
ALAIN GORAGUER France
CARY GRACE United Kingdom
GRAILS United States
GREEN MILK FROM THE PLANET ORANGE Japan
GREY MOUSE Russia
GREYLEVEL Canada
GROUP 1850 Netherlands
GROWING SEEDS Germany
GUILD NAVIGATORS United States
GURU & ZERO United Kingdom
HADAL SHERPA Finland
HANADENSHA Japan
HANDLINGNOISE Finland
HANDWRIST Portugal
HARPO JARVI United States
HASH JAR TEMPO Multi-National
HAUNTED LEATHER United States
HAWKWIND United Kingdom
A HEADFULL OF MONSTERS United Kingdom
HEADROOM United States
THE HEADS United Kingdom
HEAVY MOON Canada
HEAVY WATER EXPERIMENTS United States
DASHIELL HEDAYAT France
HELLBENDER United States
HEPTAGRAM Bulgaria
HERBCRAFT United States
HERE & NOW United Kingdom
HERU AVENGER United States
H═BRIDO Spain
HIDRIA SPACEFOLK Finland
HIGH DEPENDENCY UNIT New Zealand
HILLS Sweden
HIMMELLEGEME Norway
HISKO DETRIA Finland
HOLLOW EARTH Sweden
HOLLOW MIRRORS United States
HOLY RIVER FAMILY BAND Sweden
HONDURAS LIBREGRUPO Argentina
HOTEL WRECKING CITY TRADERS Australia
HOUSE OF NOT Canada
HOWLIN' MAGIC United States
HUMAN FACTOR Russia
HUMANOID Canada
HUMINOITA Finland
HUMUS Mexico
HUNDOS United States
HYPNODRONE ENSEMBLE Germany
HYPNOS 69 Belgium
I.E.M. United Kingdom
ICI MAINTENANTS United Kingdom
ID United States
IGRA STAKLENIH PERLI Yugoslavia
IKIHEVONEN Finland
DJORDJE ILIJIN Yugoslavia
IMANISSIMO Indonesia
IN A NUTSHELL Russia
IN ZAIRE Italy
INCANDESCENT SKY United States
THE INFINITE TRIP United Kingdom
INOMATA TAKESHI & SOUND L.T.D. Japan
INSIDER Italy
INSTANT FLIGHT Multi-National
INTERKOSMOS Austria
INTERNATIONAL HARVESTER Sweden
INVERNADERO Chile
THE INVISIBLE BAND! United Kingdom
INVISIBLE OPERA COMPANY OF TIBET (BRAZIL) Brazil
ION QUEST United States
LA IRA DE DIOS Peru
IT'S NOT NIGHT: IT'S SPACE United States
IVORY Germany
IXTHULUH Austria
J. A. CAESAR Japan
JACKO WACKO Peru
JACKS Japan
ANDY JACKSON United Kingdom
JADE France
JADE WARRIOR United Kingdom
THE JELLY JAM United States
JESUS WITH ME United States
JOY HEIGHTS Japan
JUKE France
JUUDAS ISKARIOTIN SUUDELMA Finland
KAARNA Finland
KALUTALIKSUAK Russia
KANAAN Norway
KANZEON Japan
KARABA Germany
KARAKORUM Germany
KARMA CANON United States
KARMIC SOCIETY Germany
KARUNA KHYAL Japan
KAULA SPANDA Russia
ROSE KEMP United Kingdom
KHADAVRA Sweden
PAUL KIDNEY EXPERIENCE Australia
KIKAGAKU MOYO Japan
KIKI PAU Finland
KILL FOR TOTAL PEACE France
KILLFLAVOUR Germany
KING GIZZARD & THE LIZARD WIZARD Australia
KING SUFFY GENERATOR Italy
KINGBATHMAT United Kingdom
KINGSTON WALL Finland
KINSKI United States
KIRKBINSINEK Turkey
KIRUNA Norway
KLAR Czech Republic
KNALL Germany
PASI KOIVU Finland
KORAI ÍRÍM Hungary
ERKIN KORAY Turkey
KOSMOS Canada
KOUSOKUYA Japan
KOZMIC MUFFIN Spain
KRAUTZONE Germany
KREL United Kingdom
KROM LEK United Kingdom
KUNGENS M─N Sweden
KUNI KAWACHI TO KARE NO TOMODACHI Japan
KVASAR Spain
LAGHONIA Peru
LAMAGAIA Sweden
LANA LEE Spain
LANDING United States
LANDS END United States
LAVA Sweden
LAY LLAMAS Italy
LE MUR Germany
THE LEGENDARY PINK DOTS United Kingdom
LEMMUS LEMMUS Israel
LEMONADE INFLUENCE Greece
SELIM LEMOUCHI AND HIS ENEMIES Netherlands
LENIN Argentina
LENINGRAD BLUES MACHINE Japan
LES LEKIN Austria
LIQUID ORBIT Germany
LIQUID SOUND COMPANY United States
LIQUID VISIONS Germany
LIQUIDO DI MORTE Italy
LITMUS United Kingdom
LIZARDS EXIST Croatia
LOCH NESS Mexico
LONDON UNDERGROUND Italy
THE LONGEST DAY Australia
LOOP United Kingdom
LORDFISH Costa Rica
LOVE LIVE LIFE + ONE Japan
LOVE MACHINE Germany
LUBIANKA Spain
L▄GER Spain
LUMERIANS United States
LUNAR DUNES United Kingdom
MAAT LANDER Russia
THE MACHINE Netherlands
MACONDO Peru
MADEMOISELLE MARQUEE United Kingdom
MICHEL MADORE Canada
MAGIC LANTERN United States
MAGIC MUSCLE United Kingdom
MAGICAL POWER MAKO Japan
MAGNOG United States
MAINLINER Japan
MAJUTSU NO NIWA Japan
MALADY Finland
MAMMAL MACHINE Japan
MAMMATUS United States
MAN United Kingdom
MANBURGER SURGICAL United States
THE MANDRAKE MEMORIAL United States
MANTA RAY Spain
MANTRA MACHINE Netherlands
MANTRIC MUSE Denmark
MAPPE NOOTICHE Italy
KEVIN MAPPLEBECK United States
MARBLE SHEEP Japan
MARGIN Germany
ALAIN MARKUSFELD France
MARS EVERYWHERE United States
MARS RED SKY France
MARY NEWSLETTER Italy
M┴SF╔L Hungary
MASTER MUSICIANS OF BUKKAKE United States
MATUSHKA Russia
MECHANIK Spain
MELANGE Spain
MELODIC ENERGY COMMISSION Canada
MELTING EUPHORIA United States
MERKABAH Poland
MESS Estonia
MESSAGE Germany
MIDDAY VEIL United States
MIDNIGHT ZOMBIE ALLIGATOR Spain
MIIST Poland
MIJA United States
MILES FROM PANGAEA United States
MILO BLACK United Kingdom
MIND! Spain
MISTY MOUNTAIN FOUNDATION Finland
MOBY TRIP New Zealand
MOHODISCO United States
MOLECULE France
MONARCH United States
MONDO DRAG United States
MONKEY3 Switzerland
MONOMYTH Netherlands
MOOCH United Kingdom
MOON DUO United States
MOON FOG PROPHET Finland
MOON PHANTOMS Multi-National
MOONWAGON Finland
THE MOOR Sweden
LA MORTE VIENE DALLO SPAZIO Italy
MOTHER DUST Germany
MOTHER ENGINE Germany
MOTHER GONG United Kingdom
MOTHER OF FIRE United States
MOTHER-UNIT Netherlands
MOTHERSHIP United States
MOTHS & LOCUSTS Canada
THE MOVEMENTS Sweden
MR QUIMBY'S BEARD United Kingdom
MUGSTAR United Kingdom
MUSHGOONS Italy
MUSHROOM United States
MUSHROOM GIANT Australia
MUSIC EMPORIUM United States
OS MUTANTES Brazil
MY BROTHER THE WIND Sweden
MY SLEEPING KARMA Germany
MYRIAD Australia
THE MYRRORS United States
MYTHIC SUNSHIP Denmark
NAAM United States
NAKED ELF United States
NANGYALA Netherlands
NAPATISTA United States
THE NARCOTIC DAFFODILS Belgium
LOS NATAS Argentina
NAXATRAS Greece
NAZCA SPACE FOX Germany
NEGATIVE ZONE France
NEKTAR United Kingdom
NEMRUD Turkey
GIORGIO C. NERI Italy
THE NIGHT SEA United States
NIMBUS Finland
NNECRA PACKE France
NO MAN'S LAND Greece
NO-MAN United Kingdom
NODENS ICTUS United Kingdom
NOETICS Germany
NOPE United Kingdom
NOSOUND Italy
NOSTRADAMUS THE TANK ENGINE United States
NUDITY United States
NUKLI United Kingdom
NUMINOUS EYE United States
NYL France
OATS United States
OBSKURIA Multi-National
OC FEEF United States
OCEANSIZE United Kingdom
OCTAVIO SENDERO Argentina
OCTOPUS United Kingdom
OCTOPUS Germany
OCTOPUS SYNG Finland
OHEAD United Kingdom
OKTA LOGUE Germany
OLE LUKKOYE Russia
OMEGA Hungary
OMENOPUS United Kingdom
OMNIA OPERA United Kingdom
ONE OF THESE DAYS & THEE HEAVY RANDOM TONE COLOUR LAB Spain
ONE SWITCH TO COLLISION Multi-National
ONEIDA United States
ORANGE SHADING STARLIGHT Italy
ORANZADA Poland
ěRESUND SPACE COLLECTIVE Multi-National
ORGANIC IS ORGASMIC Russia
ORION TANGO United States
ORION'S BEETHOVEN Argentina
ORSAK:OSLO Sweden
THE OSCILLATION United Kingdom
OSIRIS THE REBIRTH United Kingdom
LA OTRACINA United States
OULU SPACE JAM COLLECTIVE Finland
THE OUTERSPACE MILKMEN Multi-National
THE OVALS Australia
OXHUITZA Italy
OZRIC TENTACLES United Kingdom
TA PAICHNIDIA TOU ILIOU Greece
BRUCE PALMER Canada
THE PANCAKES Germany
PANTA REI Sweden
PAPIR Denmark
PARADISE 9 United Kingdom
PARADOX United Kingdom
PARADOX ONE United Kingdom
PARALLEL OR 90 DEGREES United Kingdom
EL P┴RAMO Spain
PAVALLION Germany
P╔LOQUIN-SAUVAGEAU Canada
PEOPLE Japan
PEOPLE OF THE NORTH United States
PERIZONA EXPERIMENT Italy
PHARAOH OVERLORD Finland
PHLOX Malaysia
PILOTOCOPILOTO Peru
PINK FLOYD United Kingdom
LA PIRAMIDE DI SANGUE Italy
PLANK United Kingdom
PLASTIC OVERLORDS United States
PLJ BAND Greece
POLSKA RADIO ONE Russia
POLTERGEIST United Kingdom
POLYPHONY United States
POLYTOXICOMANE PHILHARMONIE Germany
POND Australia
POSEIDON Germany
PRE-MED United Kingdom
PRIMORDIAL UNDERMIND United States
PRISMA Germany
PROFESSOR TIP TOP Norway
PROJECT MOONBEAM United States
PSEUDO SUN Sweden
PSI CORPS Russia
PSYCHATRONE RHONEDAKK United States
PSYCHE BUGYO Japan
PSYCHEDELIC SUN'S Finland
PSYCHEDELIC WARRIORS United Kingdom
PSYCHIC ILLS United States
PSYCHIC LEMON United Kingdom
THE PSYCHIC PARAMOUNT United States
PUBLIC FOOT THE ROMAN United Kingdom
PURPLE OVERDOSE Greece
PURPLE VELLOCET Spain
PUSSY United Kingdom
PYRAMIDAL Spain
PYRAMIDION United Kingdom
QOPH Sweden
QUANTUM FANTAY Belgium
QUARKSPACE United States
QUEEN ELEPHANTINE United States
RA CAN ROW United States
R┼D KJETIL AND THE LOVING EYE OF GOD Sweden
RADAR MEN FROM THE MOON Netherlands
RADIOMOBEL Sweden
RAGNAROK New Zealand
MARCO RAGNI Italy
RAINY SEASON Russia
LES RALLIZES DENUDES Japan
RAPTOR KONRAD Czech Republic
RARA AVIS IN TERRIS France
RASASOUND Hungary
RAVEN SAD Italy
THE RE-STONED Russia
REALEAF Israel
RED SUN Italy
THE RENDLESHAM FOREST INCIDENT United States
THE RESONANCE ASSOCIATION United Kingdom
RHYTON United States
CATHERINE RIBEIRO & ALPES France
RINSE. REPEAT. United States
ROBB & POTT Multi-National
ROBIN AND THE MODEST Germany
RODOTOTOED Mexico
ROOT United Kingdom
THE ROOTS OF ECHO Sweden
ANDREW DOUGLAS ROTHBARD United States
ROTOR Germany
ROVO Japan
RYMDSTYRELSEN Sweden
RYODAN Japan
SAGA Sweden
SALMA GANDHI Sweden
SAMMAL Finland
SAMSARA BLUES EXPERIMENT Germany
SAPAT United States
SATURNALIA United Kingdom
SAUNABADH Finland
SAVANNA Portugal
SAWKEN Chile
SCARED BUNNY Canada
SCARLET UTOPIA Germany
SCHROEDINGER'S CAT Germany
SCHWARZ Spain
SECOND HAND United Kingdom
THE SECRET MACHINES United States
SECRET SAUCER United States
SEHNSUCHT Russia
SEID Norway
SEMENTE Brazil
SEMI Japan
SENDELICA United Kingdom
SENSATIONS' FIX Italy
SENTIENT United Kingdom
SEPSIS Russia
SERPENTINA SATELITE Peru
SEVEN PERCENT SOLUTION United States
SEVEN THAT SPELLS Croatia
SF Japan
SFUMATO Germany
SH'MANTRA Australia
SHAMAN ELEPHANT Norway
SHATTER PROJECKT / SHATTER PROJECT United States
SHINKI CHEN & FRIENDS Japan
SHIP OF FOOLS United Kingdom
SHUTTAH United Kingdom
SIDDHARTHA Turkey
SIGNAL TO NOISE RATIO Poland
SILAS NEPTUNE United States
SIMILAR Puerto Rico
SISTA MAJ Sweden
SISTRA Italy
SIX ORGANS OF ADMITTANCE United States
SKY PICNIC United States
SLEEPIN PILLOW Greece
SLEEPING PANDORA Germany
SLEEPY SUN United States
SLOVO MIRA Russia
SLOW RIDE HOME Ukraine
SMOKING SPORE United States
SNAKE OIL United States
SNC Italy
SNOVI Croatia
SOLAR CORONA Portugal
SOLAR GLORY United States
SOLAR PROJECT Germany
SOM IMAGIN┴RIO Brazil
SOMA United Kingdom
SOMALI YACHT CLUB Ukraine
SONAR Hungary
SONIC BOOM United Kingdom
THE SONIC SHAMEN United Kingdom
SONORA SUNRISE Russia
SONORHC France
SONTAAG United Kingdom
SOPHIE'S EARTHQUAKE Germany
NICKLAS SěRENSEN Denmark
THE SOULBREAKER COMPANY Spain
SOUNDARCADE Latvia
SPACE DEBRIS Germany
SPACE INVADERS Germany
SPACE MIRRORS Multi-National
SPACE MUSHROOM FUZZ United States
SPACE RITUAL United Kingdom
THE SPACE SPECTRUM Germany
SPACEHEAD United Kingdom
THE SPACELORDS Germany
SPACEMEN 3 United Kingdom
SPACESEED United States
THE SPACIOUS MIND Sweden
SPATIAL MOODS Peru
SPECIMEN 37 United States
SPEED; GLUE AND SHINKI Japan
SPIRAL United States
SPIRAL REALMS United Kingdom
SPIRALMAZE Greece
SPIRIT OF THE MATTER France
SPIRITS BURNING Multi-National
THE SPIRITS OF THE EARTH United Kingdom
SPONTANEOUS COMBUSTION United Kingdom
SQUADRA OMEGA Italy
SRI AUROBINDO United States
ST 37 United States
ST MIKAEL Sweden
STAIRCASES United States
THE STARS Japan
STARVING DAUGHTERS United States
STEEO Italy
STEREOKIMONO Italy
STREETMARK Germany
STROBE United Kingdom
STUPID COSMONAUT United Kingdom
SUBARACHNOID SPACE United States
S▄DSTERN 44 Germany
SUISHOU NO FUNE Japan
SULA BASSANA Germany
THE SUN BLINDNESS Australia
SUN DIAL United Kingdom
SUNBURNED HAND OF THE MAN United States
SUNFOREST United Kingdom
SUNGRAZER Netherlands
SUNRISE SUNSET PROJECT Russia
SUNSET OF RA Greece
SUPERFJORD Finland
SUUK Estonia
SVARTBAG Denmark
SWEDENBORG RAUM Germany
SWEET SMOKE United States
THE SYN United Kingdom
SYSTEMS THEORY United States
LOS T┴BANOS EXPERIENCE Chile
TABOO STU United States
TAIPUVA LUOTISUORA Finland
TAJ-MAHAL TRAVELLERS Japan
TAKO Yugoslavia
TANGLE EDGE Norway
TANNED LEATHER Germany
TANTRA Argentina
TASHA-YAR United States
JAY TAUSIG United States
TEETH OF THE SEA United Kingdom
TELEGRAPH Israel
TEMPLE OF THE SMOKE Serbia
TEMPLES Finland
TERMINAL LOVERS United States
TESTET ÍLT Multi-National
THINK FLOYD United Kingdom
THTX United States
TIA CARRERA United States
TIDAL FLOOD Greece
TINY FINGERS Israel
TITAN United States
TMA-1 Spain
TNVVN▄M Estonia
TORGA OSTERA Portugal
TRACTOR United Kingdom
TR─D GR─S OCH STENAR Sweden
TRAFFIC SOUND Peru
TRANSITIONAL PHASE United States
TRANSNADEZNOST Russia
TRAUMMASCHINE Spain
TRAVELING CIRCLE United States
TREATMENT United Kingdom
TRIBE OF CRO United Kingdom
TRIGON Germany
TRIP HILL Italy
TRIP LAVA United States
TRIPTONUS Austria
TROLDMAND Denmark
TR┌BROT Iceland
TUBILAH DOG United Kingdom
TUNDERGROUND Romania
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 ÍVER LAPPLAND Sweden
ULTIMATE SPINACH United States
▄MIT! 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
VINTAGE CUCUMBER Germany
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
WEITES LUFTMEER Germany
WELCOME INSIDE THE BRAIN Germany
WELTRAUM 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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