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PSYCHEDELIC/SPACE ROCK

A Progressive Rock Sub-genre


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Psychedelic/Space Rock definition

Psychedelic Progressive Rock

Progressive rock music has its roots in the mid 1960's psychedelic cultural phenomena. During that time the British Invasion and folk-rock bands began to expand the sonic possibilities of their music. These groups slowly started to abandon the concise verse-chorus-verse patterns of rock & roll, and moved towards fluid, free-form oriented song structures. Just as important was the incorporation of elements from Indian and Eastern music. Along them the principles of free-form jazz were included to the psychedelic sound, emphasising spontaneous emotions over calculated and estimated compositional constructions. Experimenting with new studio technology, electronically altering instruments and voices, was a part of this altered approach as well. Acid rock groups like THE JIMI HENDRIX EXPERIENCE and CREAM stand as descriptive and popular examples of the path from psychedelic sunshine pop towards a more aggressive and distinct rock expression, in particular showcased in their improvised live performances.

The boundary dividing the "Experimental" and "Progressive" classification is a thin and at times contested one for this era. The pioneering psychedelic progressive rock bands to be found at www.progarchives.com will in most cases be found in the Proto-Prog section of the site. Amongst these pioneering outfits are acts like THE BEATLES, JEFFERSON AIRPLANE AND VANILLA FUDGE. Artists such as PINK FLOYD will not be found there though, as their career extended well beyond these first, formative years.

Psychedelic progressive rock music may contain the elements previously described in varying combinations, but the artistic perspective of progressive rock is another factor. Some psychedelic rock bands stuck to the mid 1960's beat rock style in purist form, not partaking in the experimental development of the impressionistic possibilities of psychedelic rock music others spearheaded. The evolution of the psychedelic depth within a progressive context could be seen for instance in the 1960's recordings of ARCADIUM and BABY GRANDMOTHERS. One good example of early 70's Continental European progressive psychedelic rock is the album by AHORA MAZDA, and from Britain JADE WARRIOR's early efforts fuse psychedelic rock and ethnic music. Current artists exploring the vintage 60's/70's style and sound are acts like THE SPACIOUS MINDS and ACID MOTHER'S TEMPLE.

The entire Western pop culture scene was influenced by the psychedelic culture to some extent, including other prog genres such as Prog Folk. In Germany, artists influenced by the British psychedelic movement formed their own genre called KRAUTROCK. The pioneering early 70's bands in this genre represent the progressive acid rock sound of Germany, experimenting with long instrumental improvisations, emphasizing the use of psychedelic effects and weird electronic sounds. Some examples are artists like AMON DÜÜL, ASH RA TEMPEL, CAN, GÄA, NECRONOMICON and YATHA SIDHRA. The PROGRESSIVE ELECTRONIC style emerged from Krautrock. Some of the most influential artists of this genre, such as TANGERINE DREAM and KLAUS SCHULZE, explored a distinct psychedelic musical style at first, which was influential for the development of the "space rock" sound:


Progressive Space Rock

The late 1960's psychedelic rock scene also spawned the birth of the space rock genre. The pioneering acts of this genre assimilated krautrock elements like repetitive hypnotic beats and electronic/ambient soundscapes as they moved away from the common musical and compositional approach. The synthesizer with its bubbling tones and spacey patterns, provoking a gliding flow, is a typical instrument of this genre. Guitars are by preference played with glissando technique and delay/echo effects are heavily used, and elements originating from reggae/dub are fairly common. Several bands combine their live performances with trippy lightshows using random fractals. Albums in this genre will often include at least one long meandering jam based on a main theme, where loops and wavelike fluctuations provides slight variations to this structural foundation.

Stories, images, song titles and album names referring to cosmic themes are fairly common features of the genre. HAWKWIND's live album "Space Ritual" is said to be the ultimate space rock album due to the collaboration with sci-fi author Michael Moorcock. His lyrics are performed by a narrator and underlaid with synth elements. PINK FLOYD can be regarded as pioneers of spacey music during the band's early phase, as exemplified by certain tracks from "The Piper At The Gates Of Dawn" or the stirring live performance of "Careful With That Axe Eugene" from "Ummagumma". GROBSCHNITT provides another fine example of classic space rock with their epic effort "Solar Music". Other bands explored the space rock sound for a limited time period only. GONG released groundbreaking albums in the genre at the start of their career, while British hard rock band UFO released the extraordinary album "Flying - One Hour Space Rock" as their sole contribution to the genre in 1971.

A space rock scene can be found in most countries sporting artists producing music with a western-oriented or influenced sound. Swedish bands are known for a brisk exchange of musicians among each other. The "Strange Daze" festivals from 1997-2000 showcased the American space rock scene. Japan is an inexhaustible reservoir of artists exploring both psychedelic progressivce rock and progressive space rock. Representative examples of the style are bands such as ORESUND SPACE COLLECTIVE with their focus on long grooving improvisations, QUARKSPACE and OZRIC TENTACLES with their stronger emphasis on electronic elements and VESPERO and HIDRIA SPACEFOLK with their inclusion of ethnic-originating musical components. Other groups like ESCAPADE and THE LEGENDARY PINK DOTS represent an avantgarde approach to the genre, whereas SUBARACHNOID SPACE and KINSKI are examples of artists that provide transitions to the post rock genre.


The boundaries of Psychedelic Progressive Rock connected with Stoner Rock and Acid Folk

The 1960's and 70's were a time of liberation, a time of rebellion against rigid rules and strict moral boundaries. In those "freedom of expression" days, an artist would typically herald their liberal attitudes as a mind-expanding trip on stage together with the audience in two ways. One was to realize audio/visually the visual and auditory hallucination as it was, and another was to play their repertoire spiritually and improvisationally under the trip. As for the latter approach, they devoted themselves solely to slow-to-mid tempo playing with low-tuned guitars in a heavy and expansive manner for playing steadily under this twilight condition. In the same time period, this approach to the musical trip was also taken on by some artists especially in the hard rock and heavy metal scene. This new style, drenched in heavy and downer psychedelia, was called "Stoner Rock". The name originates from the expression "stoned", referring to people in altered states of mind while under the influence of psychedelic substances. The Stoner Rock genre was universalized "as a strict musical style only" by the Industrial Grunge Rock genre that gained worldwide popularity in the early 1990s. The common denominator of all the artists mentioned is the representation of their personal cultural and political backgrounds, whilst playing slow-paced depressive songs with heavy guitars and echoic rumbling drums as the dominating features. Most of current outfits claiming to be the so-called Psychedelic Heavy Progressive Rock ones should be much influenced by the traditional Stoner or Grunge Rock as well as the early Psychedelic Progressive Rock. They can be considered as a borderline case between Psychedelic Progressive, Heavy Progressive, and Progressive Metal.

"Acid Folk" can be mentioned as another musical style with hallucinogenic approach. Psych Folk or Psychedelic Folk are other names for this genre, and is vaguely defined as a rock subgenre due to the mixture of folk rock and psychedelic rock. This is a style lacking in strict definitions, and it is contested whether or not the term was actually used at what is deemed the dawn of the genre. It's an undeniable fact that the Acid Folk scene gained some popularity by the efforts of artists in "The Folk Revivalism", but it's important to remember that there were two distinctly different approaches taken by those who helped shape the genre in the mid 1960's. Some folk singers approached a psychedelic rock structure as was popular at that time, while some psychedelic rock outfits tried to absorb and incorporate techniques and elements from folk rock. Both have great importance in the development of Acid Folk, and this may be the reason that strict definitions of the genre cannot be given. In view of the history, it's no exaggeration to claim that TYRANNOSAURUS REX, SYD BARRETT or THE INCREDIBLE STRING BAND in UK rock scene seasoned the "traditional" Acid Folk with a more progressive spice. They, as eccentric or heretical rock outfits, accepted and incorporated Middle-Eastern and Oriental elements or instruments, and the result was the foundation for the current progressive Acid Folk movement. And in the Eastern parts of the world, different acid streams was provided by artists such as TAJ MAHAL TRAVELLERS or MAGICAL POWER MAKO who exerted a great influence on younger progressive bands. Their amazing achievements resides in the twilight zone between the Prog Folk and Psychedelic Prog subgenres.


A path that never ends

In addition of the styles described, psychedelic elements can be found in many other genres of progressive rock. The psychedelic cultural explosion had an immense influence on the western popular culture, and traces of it can still be heard also outside of progressive rock circles. The collective techno rave parties carry on the legacy of the audiovisual attack from the PINK FLOYD concerts in 1968, to cite one example. As the psychedelic movement was a large cultural phenomenon, it is difficult (and maybe unnecessary) to fence it to a clear category. Psychedelic progressive rock has been developing towards several different directions over time, and the task of classifying them as distinct genres and sub-genres is an ever ongoing process, often loaded with strong opinions. The psychedelic rock artists which are not considered as progressive in style are not listed in the databse of www.Progarchives.com. This in order to maintain the site's scope to be a progressive rock reference.

The aim of this description is to be a tool of reference for potential and existing fans of the genre, and we hope that this will aid those who read it to a better understanding of the genre as well as to enjoy and discuss the subject at hand both in the forums of the Progarchives website as well as in other places online and offline both.


Psychedelic Rock / Space Rock team April 2010

Space rock definition by Rivertree
The boundaries of psychedelic progressive rock chapter by DamoXt7942
Other text by Eetu Pellonpää
with kind guidance and support by Windhawk


Current Psychedelic/Space Rock Team Members
as at December 2014

Uwe (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 | 3448 ratings
WISH YOU WERE HERE
Pink Floyd
4.60 | 3631 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 3066 ratings
ANIMALS
Pink Floyd
4.31 | 2584 ratings
MEDDLE
Pink Floyd
4.21 | 849 ratings
OCEAN
Eloy
4.14 | 318 ratings
RITUAL
Nemrud
4.11 | 542 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.12 | 368 ratings
JURASSIC SHIFT
Ozric Tentacles
4.20 | 140 ratings
BY THE WATERS OF TOMORROW
Vespero
4.40 | 56 ratings
OBSOLETE
Hedayatt, Dashiell
4.06 | 2478 ratings
THE WALL
Pink Floyd
4.11 | 260 ratings
LEGACY
Hypnos 69
4.12 | 222 ratings
TOGETHER WE'RE STRANGER
No-Man
4.06 | 462 ratings
A TAB IN THE OCEAN
Nektar
4.16 | 127 ratings
KINGSTON WALL II
Kingston Wall
4.06 | 258 ratings
EVERYONE INTO POSITION
Oceansize
4.18 | 90 ratings
TAKO
Tako
4.02 | 500 ratings
DAWN
Eloy
4.14 | 116 ratings
THE FUTURE KINGS OF ENGLAND
Future Kings Of England, The
4.03 | 422 ratings
THE OCTOPUS
Amplifier

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

ELEMENT 115
Secret Saucer
LORD SPACE DEVIL
Cosmic Trip Machine
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Baby Grandmothers
SATORI
Flower Travellin' Band

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Latest Psychedelic/Space Rock Music Reviews


 The Piper At The Gates Of Dawn by PINK FLOYD album cover Studio Album, 1967
3.88 | 1663 ratings

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The Piper At The Gates Of Dawn
Pink Floyd Psychedelic/Space Rock

Review by Atavachron
Special Collaborator Honorary Collaborator

4 stars

Have you got it yet?

If not, the joke's on you. Andy Kaufman, the lunatic genius who was far more interested in baffling people than making them laugh, knew the power of the put-on. Kaufman's was the deep practical joke; the art of the bluff. Of course in Andy's case he didn't much care if you understood that or not. He was having too much fun. So was Roger Keith Barrett.

There are other comparisons to 'Syd' Barrett. Brian Wilson comes to mind, but though also an innovative composer who shone bright in the 1960s and fell ~ possibly due to psychological imbalances and/or pharmaceutical substances ~ Wilson kept doing music and eventually returned with a run of very nice releases. And he's still alive. There's Lenny Bruce, mad comic scientist seemingly too outrageous for his own time whose politically incorrect material was so startling and corrosive that it killed him, forging a style of spontaneous story-telling that is still the foundation for most modern standup comedy.

Each came from middle class families, all gravitated toward the performing arts. But it is Andy Kaufman and his commitment to the joke's-on-you who reminds me most of Syd Barrett. Kaufman understood the price of unusual talent, was willing to pay it, and that brilliance is often accompanied by a kind of delirium. Or in literary terms, "Originality demands a degree of lunacy". In Syd Barrett's case, that's putting it mildly. Sadly we don't know with much clarity what Barrett's state of mind was when he died even though he was one of the most looked into and sought-after rock artists. After his midwifery of psychedelic pioneers Pink Floyd he recorded a couple solo records, withdrew from music, lived on royalties in hotels, and eventually moved to his mom's place in Cambridge. He became an avid gardener, painted abstracts, lived as quietly as he could, and died in 2006 of pancreatic cancer. And when we hear of his seclusion; Friends who'd given up or were long gone; His father's death when he was 15 (who had gotten him into music); Deep fear of injury or illness that could bring an important creative project crashing to a halt, our collective heart breaks and we want to give him a big hug.

Yet to my surprise, instead of the evasive, erratic, difficult artiste I'd surely expected, Mr. Barrett was open, interested and relaxed during our conversation in a modest motel room of gray drapes, imitation wood furniture, a mattress that'd seen better days and a funk that hung in the air like old cigarette smoke & coffee. Barrett's long jawline, thick brows, piercing brown eyes, stubble, and vintage paisley blouse did not betray his sixty years. "Have you got it yet?" he asked as I was fumbling with notes. "Yes, thanks for waiting" I finally said taking a deep breath and hunching on a lime-green Ottoman.

A - It's my understanding a person is very much the same after death, but you seem not at all the disconnected or sporadic person your legend suggests -

Syd - Yes well that's probably true, but it's been ten years and time has its influence. I was more dead when I was alive (smiles thinly).

A - Can you elaborate on that?

Syd - I don't think so, no, sorry. I'm not trying to be rude, you understand, that's just the best way to say it.

A - Sure. The innovations you brought to electric guitar, modern rock composing and presentation ended up being enormous. But the childlike qualities that you drew on from your love of fairytales, books like The Wind in the Willows, Cautionary Tales for Children, and The Little Grey Men are also quite clear.

Syd - Yes that's quite right. It was childlike and that was the point; that's what was interesting. The timing was right and I suppose a bunch of others dug it too. I couldn't play like Jeff Beck and had no interest in trying. It was about finding something so unexpected, so original and hard for another band to recreate, that it would stand out like a sore thumb. I mean in a good way (laughs).

A - The value of truly original work.

Syd - Well yes but it had to be in context-- I mean you can't just go out there and rub a vase across a guitar neck through an effect and expect people to come back. There has to be a measure of melodic content.

A - Talk about "melodic content" in reference to The Pink Floyd's early music.

Syd - People aren't sheep. They know what they like and respond to it, so if a lot of people get excited when you play a Blues or Surf number that goes screwy halfway through but don't get so excited when it's just all screwy, you have to pay attention to that. Or not be asked back by the club. On the other hand there were no rules to what we were doing, or at least we thought so, and we were trying to walk that line.

A - You consider yourself a songwriter?

Syd - Not a very good one.

A - Why is that?

Syd - (long pause) When you become dissatisfied with your own work it becomes an impossibility. I couldn't force myself to be excited by things I'd already exhausted. That's why the band's music changed so much between the first and second albums. No one could just stand still, not in that band, not me or Roger or Dave or anyone. Music was allowed to be fluid then, and there was great hunger to liquidate and expand. To grow.

A - That almost sounds like a CEO describing a corporation.

Syd - Yeah. That's what it became. But I don't blame those guys for taking it there. Sometimes you either move forward or die.

A - I wanted to discuss The Piper at the Gates of Dawn. Let's just jump in to 'Astronomy Domine', one of the most startling intros in rock history. The radioed voice, Morse signal, strange vocals, but still with some beat and, as you say, melody. The LP charted for fourteen weeks in Britain and peaked at #6. Pretty good for such an unique piece of work. How do you explain the immediate appeal 'Astronomy Domine' had?

Syd - I don't, except to say enough people, young people, were ready for something different. As different as Jackson Pollock was to modern art.

A - And 'Lucifer Sam' you must admit is pretty raw.

Syd - Yeah but in '67 that riff cooked. It cooked-up well. And then Matilda was the clincher, I think.

A - The "clincher"? How so?

Syd - It was a real tune. We could stack-up against the bigger bands with this one. Good to have in the pocket. Showed we could sing, sort of, and put together a decent bit. * Have you got it yet? *

A - The interview? Not quite, I'd like to get through as many of the cuts as possible, if that's alright?

Syd - Right.

A - How would you describe 'Flaming'.

Syd - A party tune.

A - Okay, and 'Pow R. Toc H.' ?

Syd - We were trying to break through, to break out, you know? This shows the jazz influence, but really our improvisational side. Unfortunately 'Stethoscope' was a cock-up.

A - 'Interstellar Overdrive' was a group composition, how did that manifest itself?; The process.

[* At this point Barrett began staring off into space. I indulged him, and waited.]

Syd - The process? Was there a process? I don't know . . .

A - 'The Gnome'; a Beatles influence?

Syd - Not really, more a generally British one. I preferred the Stones.

A - And a dose or two?

Syd - Marginally, but you must know I didn't often drop in the studio, too much to do. Have you ever tried to play a guitar while flying on acid? Can't be done with any degree of intention. 'Chapter 24' was more in a hallucinogenic vein. You can hear the impact this song had on everyone back then. Even the Monkees (laughter). 'Scarecrow' less so, more of a textural departure. One of my favorites on the LP.

A - Which leads us to one of my favorites, closing cut 'Bike'. The bizarre lyric, and the de-tuned bar room piano. Gingerbread men, lusty ambitions, the metalworks & duck calls at the end, all of it. Neat track.

Syd - Thank you. Now, have you got it yet?

A - Yes I think so.

Syd - Lovely seeing and talking with you.

A - Many thanks, Mr. Barrett.

My subject walked outside to a car that was idled at the curb. The man driving looked familiar, doughy with a shaved head, blank expression, and an army field jacket. As my interviewee got inside the car, he and the man behind the wheel glanced at each other and grinned. Then I realized who the driver was. No mistaking him. It was Syd Barrett.

Yes, Syd, I got it. Finally.

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.40 | 533 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Legionnary

3 stars the last...

Above all,talk about the sales of this album, the success he has had. Its clear that Pink Floyd, a band created in 1965, succeeded 50 years after its creation to be at the forefront of the ranking of the number of sales all over Europe,in the UK of course, but also in France, Germany and many other country. I'm not sure thats can be true for Justin Bieber or Lady Gaga in 50 years. To the wise...

First, all of the songs on this album is that all that have not been chosen for the album "the division bell"! Therefore, in theory, if these pieces were not chosen for the previous album is that they were considered less good!This album is out in a the little brother of "the division bell".

"One noodle street" has a jazzy side very nice, it's my favorite song, "Taking Hawking" is quite surprising, with the voice of Hawking found in "Keep talking" from the previous album, finally note the bells of "high hopes" for the album "the Division Bell" that can be heard at the end of "Surfacing", there have not much to say unfortunately... The other titles are very flat and uninteresting, the problem is that it does not take off ... For an hour we expect a piece shalt we leave the planet Earth, but nothing at all ,its very frustrating. I think this is partly due to the length of the songs, in fact the 17 that make up this album, 11 have a length of about 2 minutes! Pink Floyd is still known to be one of the few groups have produced a title that takes a vinyl face (Echoes-Meddle). Those like me who like Pink Floyd among others for the solos of David Gilmour will be disappointed because there have not. Except perhaps on "It's what we do", the second song on the album which is also one of the only good songs on it . It reminds me somehow to a medley of several songs of the two previous albums .

I take the risk of repeating myself but 17 instrumental tracks, it's too much too ... Only "Louder than words" is the only song sung, in this case by Gilmour.

The Endless River is 3 stars no more, no less. The album is not bad, its listenable, but for a band like Pink Floyd we still expect better.

 The Final Cut by PINK FLOYD album cover Studio Album, 1983
3.17 | 1518 ratings

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The Final Cut
Pink Floyd Psychedelic/Space Rock

Review by Scorpius

4 stars Too me, this is Pink Floyd's most underrated album. This is due to the fact that is was released after the commercial hit "The Wall", which caused this album to just fly under the radar. The concept explores themes such as a post-war dream that wasn't achieved (The Post-War Dream), political ignorance of war (Not Now John), alcoholism and death (Southhampton Dock and Paranoid eyes), and most importantly, the impossible dream of a world without war (Gunners Dream). The combination of the concept, Roger waters emotional and biting lyrics and his connection to war, and the great musicianship displayed here make this album a hidden gem of the Pink Floyd discography. Definitely a great addition to an already great discography.
 The Weirding by ASTRA album cover Studio Album, 2009
3.90 | 265 ratings

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The Weirding
Astra Psychedelic/Space Rock

Review by Progkast

4 stars Astra are a five man band from San Diego, Ca. who've proven that Classical Prog Rock isn't dead and that a younger generation can make as good of music as the previous ones had. The Weirding was recorded in a garage, and sounds like it. But if you are into 70's Prog rock, this should add to the aura. Astra's freshman attempt is mesmerizing in a nostalgic sort of way for those of us who were alive in the 70's and loved the progressive music of the day with it's melloton induced head spins. We saw no reason for it to disappear. It's nostalgic, only because it did disappear... for the most part. With a new generation, perhaps it's back, and here to stay, for a whole new generation to enjoy without having to have glimpses of the past. Astra's "The Weirding" is a bold attempt to slice into that not so musical mayhem that is Brittney Spears and 50 cent. An attempt to bring real music to the fore and perhaps musicianship to our ears. My only complaint.... the drums are bit lacking and are monotonous and annoying.
 II by PSYCHIC PARAMOUNT, THE album cover Studio Album, 2011
3.34 | 4 ratings

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II
The Psychic Paramount Psychedelic/Space Rock

Review by CassandraLeo

4 stars Six years passed in between the Psychic Paramount's first full-length and their second, simply titled II. The band's tricks displayed on their first album are still completely present here, although it's slightly less distorted. This is for the best; while distortion is of course an intrinsic part of noise-rock, the band pushed it to an extreme limit on their first album. It's still by no means mastered particularly well, but it's also not in the pantheon of "loudest albums I've ever heard".

Musically, this is an obvious sequel to the band's first album, and it's unlikely that the band's fans would have wanted anything less. The band's songs are still catchy, melodic, full of complex instrumental interplay, and often lengthy; they still take you on a journey through space at light speed. If anything, a strong case could be made that this album is more enjoyable than their first, due to the improved production.

This is not in any sense of the word an album for the faint of heart, but for those attuned to its wavelength, it will be a rewarding listen.

 Live 2002: The Franco-Italian Tour by PSYCHIC PARAMOUNT, THE album cover Live, 2005
3.33 | 2 ratings

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Live 2002: The Franco-Italian Tour
The Psychic Paramount Psychedelic/Space Rock

Review by CassandraLeo

4 stars Live 2002: The Franco-Italian Tour is the debut album by New York City-based psychedelic/noise-rock trio the Psychic Paramount, recorded, as its title might suggest, during a 2002 tour of Europe. Much of the material on this release was later reworked for the band's debut album Gamelan into the Mink Supernatural, but if possible it's even more energetic live, making this far from a pointless cash-in. Like their debut, it's harsh and distorted throughout, though it's actually slightly less noisy than the studio album. The melodic elements and complexity present on the studio releases are still present here, but it's still noisier than nearly everything else not classified as "noise-rock", and not for the faint of heart in the slightest. And don't turn your volume up too high; you'll blow out your speakers/headphones and end up with tinnitus. If you like their full-lengths, you'll probably like this, and if you don't like this, you probably won't like their full-lengths.
  Gamelan Into the Mink Supernatural by PSYCHIC PARAMOUNT, THE album cover Studio Album, 2005
3.96 | 6 ratings

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Gamelan Into the Mink Supernatural
The Psychic Paramount Psychedelic/Space Rock

Review by CassandraLeo

4 stars This is quite likely the loudest album in my collection this side of some of Merzbow's mid-'90s output, when the man seemed to want to push the harshness of digital sound to its maximum feasible limit. Perhaps unsurprisingly, The Psychic Paramount is highly based in noise-rock. Their sound is unpleasant and distorted, but that's of course the whole point. It's supposed to be an unrelenting wall of noise.

If you can get past the production, this is highly energetic and surprisingly catchy stuff. I'd even go so far as to say it's melodic. The band actually has pretty credible prog credentials; their lengthy instrumental compositions stretch out at length, with all the twists and turns you'd expect from the best prog rock, and they use unorthodox time signatures and bizarre composition techniques you'd expect from the genre. It's probably best described as a mixture of noise-rock, prog, psychedelic/space rock, and post-rock. I don't really know of many other acts that sound like them, though to be fair, I haven't explored the genre too much. It's probably worth also mentioning the works of spiritual predecessor Laddio Bolocko, which contained two of the same members but was prone to stretching out even more than the Psychic Paramount do and was rooted somewhat more in avant-garde jazz. If you like TPP, you'll probably like LB as well.

This band's other works aren't mastered quite as loudly as this one, and II is probably every bit as fun as this one, so it's probably a better starting place. I was introduced here, though, and I find there to be something special about it. I have to knock off a star for the production, though. I get what they were going for, but there's a point where even something that's supposed to be loud is still too loud. If the production were a shade less harsh, this would get an enthusiastic five stars.

 Galactic Zoo Dossier  by BROWN'S KINGDOM COME, ARTHUR album cover Studio Album, 1971
3.97 | 70 ratings

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Galactic Zoo Dossier
Arthur Brown's Kingdom Come Psychedelic/Space Rock

Review by GruvanDahlman
Prog Reviewer

5 stars One cannot blame Arthur Brown of being a coward. Between 1967-1973 he made a musical journey few would dare to make. The lovely little song 'Give him a flower' led to the album 'The crazy world of Arthur Brown' which showcased a strong bluesy, proto-prog direction and spawned the hit single 'Fire'. Now, most people would have continued down that path, enjoyed the money and fame but not Arthur Brown. He instead ventured into the studio and recorded 'Strangelands' in 1969. That album wasn't released for many a year later but that was truly a bold step, making an albums worth of free form progressive rock that defies description. For his next album he settled down somewhere in between 'The crazy world of Arthur Brown' and 'Strangelands'. The result was the magnificent 'Galactic zoo dossier'. Arthur Brown and his Kingdom Come always maintained a sound of their very own, not only by way of Brown's amazing vocal capabilities but also in the way they sound together. The three albums Kingdom Come made in the early years of the 70's differ from each other but holds the unique flame burning. The mix of folk, hard rock and utter madness makes for a very intriguing and fascinating experience. This is music made in a mental institution where Arthur Browns holds court and spews his gloriuos dementia around him, whilst occasionally surfacing to sanity. It is bloody marvellous, I tell you.

The album is based around some sort of concept where the human race is trapped inside a galactic zoo. Or something. Regardless of the concept and whether you grasp it or not, you truly feel that the musical content is conceptually based. It's like watching a fantasy movie where strange beings and humanoid entities swarm around as if it is all business as usual. Brilliant. The opening rambling about the Lord that leads into 'Internal messenger' is a typical example of the sense of humour that leads a vibrant existence on this album and certainly the next one, which is equally good. While 'Internal messenger'. 'Sunrise' and 'Simple man' are songs of normal, early progressive structure, songs like 'Night of the pigs' and 'Creep' ventures into the wastelands of the previous, shelved album 'Strangelands'.

I don't mind the occasional freakout, as on 'Creep', but I want it to be just that, occasional. 'Strangelands' is really too much freak for me but when mixed in with 'normal', if that at all is an apt description of Brown's musical legacy, it makes perfect sense and makes it all very enjoyable. This album, as with the following, is just that, the perfect mix of crazy freakouts in the canteen at the asylum and scary normality of someone who acknowledges no bounds or barriers. Brown and his cronies created a truly wilfully wayward collection of songs that at first might appear as a great conundrum but if one listens and puts in an effort it is simply adorable and truly rewarding. I wouldn't say that it is impenetrable but 'Galactic zoo dossier', though it might seem that way, really is not. It is simply a wonderful album and holds everything I adore in early incarnations of progressive rock. There is a sense of humour, the warm and destructive organ and that wonderfully crude soundscape that is so endearing. A truly brilliant piece of music that really have stood the test of time. It is one of my favorite albums and I suppose I would take it with me if I was sent on an everlasting journey into space, never ever returning to Earth. It would surely make my life a lot easier, when heading straight for Uranus. Or whatever.

 Альбом трав / The Grasses Album by RAINY SEASON album cover Studio Album, 1993
3.37 | 8 ratings

BUY
Альбом трав / The Grasses Album
Rainy Season Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

3 stars RAINY SEASON are a Psychedelic band out of Russia and this is their second release from 1993. I have the debut "The Return" which is better than this one in my opinion. "The Grasses Album" I find a little too ambient and the first track is by far my least favourite so it's like getting off on the wrong foot every time I spin this. I do like how melancholic this recording is and I thought of Terje Rypdal on more than one occasion. This band is a duo with guests helping out just like on the debut.

"Dances On The Roofs" has this relentless percussion that bothers me for some reason, of course given the title I guess that beat is important. Atmosphere comes and goes along with the percussion until the percussion stays and spacey synths help out. Angular guitar after 3 minutes along with drums as the percussion continues. The guitar stops before 6 minutes as the keyboards? replace it. The drumming is relentless and I'm just not a fan of this one. "Breathing Of Water" is ambient to start with gentle sounds coming and going. Some low end picked guitar and droning keys lead the way here. This is very melancholic. Flute arrives later on and it becomes more prominent around 7 minutes then it starts to wind down 10 minutes in.

"The Return" is the longest track at over 15 minutes. A dramatic intro of electronics before it settles right down with spacey and pulsating sounds. This is really laid back. The guitar starts to cry out and it's such a moody sound reminding me of Rypdal. Some dramatic outbursts after 8 minutes then the guitar is back leading. It's crying out again big time 11 1/2 minutes in before it all settles back down once again. "On The Other Side Of The Hill" features more droning sounds and picked guitar and again it's melancholic. The guitar starts to soar at 3 1/2 minutes and I like the guitar solo late to end it. "Light Grasses" is my favourite. Spacey sounds to start as picked guitar joins in. A second guitar joins in sounding really good. Drums follow as it builds. "Upwards" is the short 1 1/2 minute closer with pulsating atmosphere and relaxed guitar melodies throughout.

Lots to like here and it's probably closer to 3.5 stars.

 Wish You Were Here by PINK FLOYD album cover Studio Album, 1975
4.62 | 3448 ratings

BUY
Wish You Were Here
Pink Floyd Psychedelic/Space Rock

Review by Atavachron
Special Collaborator Honorary Collaborator

5 stars This is a classic recipe that has a modern twist. Complex in flavors but straightforward in presentation, this clean, elegant dish will appeal to a surprising variety of guests from moms to colleagues and serves four to six people. You will need a processor.

2 lbs. electric bass foundation, coarsely sliced

1 1/2 lbs. blues guitar, electric & acoustic (you'll need both), thinly sliced

1 lb. assorted keys, electric & acoustic, diced (again, don't skimp on either, it'll come in handy later)

1/2 lb. traps, acoustic, finely chopped

1/2 lb. vox, smoked and finely chopped

1 small satchel of assorted harmonics

3 Tbsp olive oil

2 Tbsp sea salt

1 Tbsp fresh ground black pepper

a 6 oz. package of fettuccine or wide egg noodles, cooked in 1 gallon water until tender but firm

Heat a charcoal or wood-burning grill to medium, and preheat oven to 400 degrees. Trim as much fat as possible from the bass and guitars, rub with 2 tbsp olive oil, 1 tbsp salt, 1/2 tbsp black pepper. Lay pieces on grill and cook till medium rare, turning pieces once to get a nice sear. Remove to serving tray and let rest covered in foil. Place the assorted keys, smoked vox, traps, and harmonics in a wide nonstick pan with the remaining oil and salt & pepper on grill, sauteing till browned and tender. Add whatever bass & guitar juices have accumulated to saute pan, cook for a minute, then puree in processor till smooth. Pour mixture over bass & guitars to cover and place in hot oven for ten minutes. Remove and serve over fettuccine or egg noodles.

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3 LEAFS United States
35007 Netherlands
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ABUNAI! United States
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AGAMEMNON Switzerland
AGUSA Sweden
AHKMED Australia
AHORA MAZDA Netherlands
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ALRUNE ROD Denmark
AME SON France
AMONULLUNOMA Ireland
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AMPACITY Poland
AMPLIFIER United Kingdom
ANALOGY Italy
ANGEL'IN HEAVY SYRUP Japan
ANNOT RHÜL Norway
ANONIMA SOUND LTD. Italy
ANTA United Kingdom
ANTLERS United States
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ANUBIAN LIGHTS United States
APPALACHIAN TRANSLATOR United States
APRYL FOOL Japan
APTEKA Poland
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AQUELARRE Argentina
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ARCHITECTURAL METAPHOR United States
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CAPITAL SENTIMENTAL Netherlands
CARLTON MELTON United States
THE CARPET KNIGHTS Sweden
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THE WARLOCKS United States
WEITES LUFTMEER Germany
WELTRAUM Germany
WHERE THE MOON CAME FROM United States
THE WHIRLINGS Italy
WHITE HILLS United States
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WIND Norway
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