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PSYCHEDELIC/SPACE ROCK

A Progressive Rock Sub-genre


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Psychedelic/Space Rock definition

Psychedelic Progressive Rock

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

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

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

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


Progressive Space Rock

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

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

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


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

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

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


A path that never ends

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

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


Psychedelic Rock / Space Rock team April 2010

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



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



Psychedelic/Space Rock Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Psychedelic/Space Rock | More Top Prog lists and filters

4.62 | 3831 ratings
WISH YOU WERE HERE
Pink Floyd
4.60 | 4027 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 3434 ratings
ANIMALS
Pink Floyd
4.30 | 2910 ratings
MEDDLE
Pink Floyd
4.22 | 984 ratings
OCEAN
Eloy
4.18 | 299 ratings
LEGACY
Hypnos 69
4.11 | 613 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.08 | 2757 ratings
THE WALL
Pink Floyd
4.11 | 408 ratings
JURASSIC SHIFT
Ozric Tentacles
4.32 | 67 ratings
OBSOLETE
Hedayat, Dashiell
4.10 | 369 ratings
RITUAL
Nemrud
4.14 | 155 ratings
KINGSTON WALL II
Kingston Wall
4.06 | 535 ratings
A TAB IN THE OCEAN
Nektar
4.05 | 576 ratings
DAWN
Eloy
4.08 | 258 ratings
TOGETHER WE'RE STRANGER
No-Man
4.11 | 162 ratings
BY THE WATERS OF TOMORROW
Vespero
4.15 | 108 ratings
TAKO
Tako
4.05 | 284 ratings
EVERYONE INTO POSITION
Oceansize
4.13 | 117 ratings
PARALLEL WORLD
Far East Family Band
4.02 | 590 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy

Psychedelic/Space Rock overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Psychedelic/Space Rock experts team

THE XENON CODEX
Hawkwind
OMEGA 6 - NEM TUDOM A NEVED [AKA: TűZVIHAR/STORMY FIRE]
Omega
TAMBOURINE FREAK MACHINE
Dragontears
PSYCHO ERECTUS
Polytoxicomane Philharmonie

Latest Psychedelic/Space Rock Music Reviews


 Church Of Hawkwind by HAWKWIND album cover Studio Album, 1982
2.85 | 89 ratings

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Church Of Hawkwind
Hawkwind Psychedelic/Space Rock

Review by GruvanDahlman
Collaborator Heavy Prog Team

4 stars Hawkwind has become a matter of the heart for me. I have come to love them. Well, maybe not all of it but that's hardly to expect since their existence stretches over of half a century. Their output is on top of that vary varied in terms of musical direction. As most people I came in by way of "Space ritual" and proceded exploring their albums of the first half of the 70's. Eventually I ventured into the latter half and found alot to cherish, more so than I found on the records made between 1970-1975. My favorite era of the mighty Hawkwind is the 80's. This is such a vibrant and exciting part of their career. Opening the new decade with "Levitation" (a 5-star album in my book) they proceded to explore and really pull it off big time throughout the decade. To me this was Hawkwind in their most exciting and fulfilling era. The six albums made, from "Levitation" in 1980 to "Xenon Codex" in 1988, are all very magnificent, though they all come in somewhat different flavors.

"Church of Hawkwind" was released in 1982 and was a very ambient affair. There are tons of synthesized sounds, blips and boinks throughout. One could argue that it sounds dated or that the sound effects are designed to disguise the lack of proper material but that is not the case. One could also argue that some of the tracks (like "Angel voices") really aren't songs but you have to listen to the album as a whole to get the picture. These are not simply sound effects created by some guy that just bought the latest synthesizer and played around with it. This is serious music with a concept. The album is at it's best when digested as a whole. The ambiance and moods are perfectly augmented by the sounds. Ominous, spacey and out of this world. It forms a whole that is thrilling, exciting and not to be taken lightly.

Now, it might sound as though Hawkwind had dropped all metallic punch from "Levitation" but they hadn't. There are several pieces of evidence of this not being so. "Nuclear drive" is a typical hard edged Hawkwind tune from the 80's. It packs quite a punch. The same could be said of "Looking in the future" or "Fall of Earth city", songs that include quite a bit af the hard rock of "Levitation" but with a very ambient atmosphere. Another one of these songs are one of my real favorites, "Star cannibal". Brocks narrative vocals over a hypnotic and spacey groove is just an amazing listen. Totally brilliant.

Whilst every track is good or brilliant there are those that stand out more than others. As I said "Star cannibal" is one of those brilliant compositions but another is the magnificent "Some people never die" which has a real hard rock attack but augmented by ambient sound effects and holds the actual sounds from the killing of Lee Harvey Oswald and Robert Kennedy. This is dramatic music that sucks me in every time. Words cannot truly say what I am feeling when listening to this track. Brutal intensity and drama.

Another one of these brilliant songs are tucked away at the very end of the album. Preceded by a sombre and spacey prelude (of sorts) "Looking in the future" unleashes a great guitar and one of the highlights have begun. To end an album with one of its finest compositions is genius.

I find "Church of Hawkwind" to be an album of absolute cohesiveness. Everything is held together in a glorious fashion. From the opening effects of "Angel voices" to the last distorted chord of "Looking in the future" you're in for a ride. The music is very intense, emotive, ambient, harsh, aggressive, soothing and enthralling in a way that only Hawkwind manages to pull off. Not all their albums are as cohesive and entertaining affairs as "Levitation" or "Church of Hawkwind" but both of these are perfectly shaped pieces of art that really are worth a listen. This is dazzling, mindblowing music perfect for any and all situation.

 An Alien Heat by SPIRITS BURNING album cover Studio Album, 2018
4.00 | 1 ratings

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An Alien Heat
Spirits Burning Psychedelic/Space Rock

Review by la Volpe

— First review of this album —
4 stars This record is a masterpiece for all those who miss the classics of Seventies groups like Hawkwind and Blue Oyster Cult. It is no coincidence that among the 31 musicians who worked on the concept devised by Michael Moorcock are Albert Bouchard, Joe Bouchard, Donald 'Buck Dharma' Roeser and Richie Castellano (the first three belonging to the Cult's original line-up and the fourth a long-term member) and Harvey Bainbridge, Bridget Wishart, Mick Slattery and Adrian Shaw (all ex-Hawkwind).

In addition to being arranged in a dense style rich with solos, exotic instruments and enough obsessive rhythms to recall BOC and Hawkwind to please their fans, I must say that the songs are really good, sometimes excellent, and for almost a whole CD, overflowing with sixteen tracks that fill almost every digital memory space available.

"Hothouse flowers", sung by the iconic Buck Dharma, opens the dance in Blue Oyster Cult territory, then gives way to the amazing "Geronimo", with the frail and raspy vocal performance by Albert Bouchard expressing his overwhelming personality on one of the record's most successful mid-tempo pieces, also thanks to Segel's violin and Moorcock himself on harmonica. Next comes "Soiree of Fire", another sublime choral piece with three voices (Moorcock, Bouchard and Anne Marie Nacchio Castellano, Richie's wife) decorated by Wishart's electric horns. The catchy "In The Future", sung by Jsun Atums, hosts a nice solo by Richie Castellano.

"Doomed" still features the fragile voices of Albert Bouchard and Michael Moorcock, while "Fall in love", which could be a major piece of the Lemmy-era Hawkwind, is sung by Don Fleming (in the nineties collaborator and producer of Dinosaur Jr, Sonic Youth, Teenage Fanclub and Screaming Trees) and "Any Particular Interest" again by Atoms. "Dark Dominion", another masterpiece mixing the motorik rhythm and the Hawkwind sound, sung by Andy Shernoff of the Dictators, concludes the first half hour of the album (and the first half of the pieces) - and so far there has not yet been a wasted note.

At this point enters one of the top players of the record, namely Mr. Joe Bouchard, ex-bassist of Blue Oyster Cult and brother of Albert, who delights us with his well-known monstrophile inclinations (BOC fans will understand) and with his peculiar voice on two of the best tracks of the album, the crazy "Seven Finger Solution" (perhaps the most infectious riff of the album, mostly in a 7/4 time signature) and "To Steal A Space Traveler", an over seven minutes space rock jam that summarizes the best musical aspects of the project.

In the following three songs, Albert takes the microphone: the best of them is "Virtue & Mrs. Amelia Underwood", which mixes the modernity of the verse with the classic rock feel of the vocal harmonies, with Falcone and Wishart coloring the piece with electric tools; "Back to 1896" houses a phenomenal refrain and the beautiful guitar of Doug Erickson, while "Learning the art" is a moody, melanchonic beauty.

Only towards the end there is a certain weariness, with "Quest For Bromley" and "Old Friends With New Faces" being a little inferior to the rest of the material. Even the good "Thank You For The Fog" in its eight minutes is not always up to the final epic that the collective hoped to achieve here.

At the time of this review, the collective is supposedly working to produce the sequel of the album, "The Hollow Lands", which of course will be based on the second book of Moorcock on the "Dancers at the End of Time."

All I can do is advise you to track down the excellent books and to listen to this album with pleasure, anche album that testifies not only the creative ability of the exuberant Don Falcone but also the fertile creativity of terrible old men like Moorcock and Albert Bouchard.

A full four stars, and totally un-missable før BÖC and Hawkwind fans.

 Seasons Of Space - Book #2 by MAAT LANDER album cover Studio Album, 2018
4.09 | 4 ratings

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Seasons Of Space - Book #2
Maat Lander Psychedelic/Space Rock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Once more provided by the German Clostridium Records label, as for the vinyl edition at least, this is the next follow up of their acclaimed Seasons Of Space series. MAAT LANDER is standing for a more loose, though nevertheless successful collaboration during the last years. Maybe even exactly for that reason. The crew is steadily comprised of guitarist Ilya Lipkin (THE RE-STONED) as well as the Fedotov brothers Arkady and Ivan of VESPERO fame. The concept turns out to be something fictional, mystical, goes for inviting us to diverse expeditions their protagonist Maat is undergoing. Up to now he has been underway all around the macrocosm. But, bored by traveling in space, with Book #2 he eventually will turn towards microcosm too.

Gripping, as he's almost losing his life hereby. This is the main frame for preparing inspired space rock tunes, tremendously characterized by Lipkin's virtuoso acoustic and electric guitar work. He also has written some chapters for the associated book, diverse illustrations included. This will highlight the approach in a comfortable manner. Featuring multi-tracked guitars Klaus, I'm Lost Among The Moleculs may be pointed out as the typical MAAT LANDER tune. Nice variations to experience. Again a breathtaking team play is assured overall. Lipkin on one hand caters for a looping line in the back, above all he's soloing a lot, here and there duetting with Arkady Fedotov's synths.

Ivan's drumming is always strong as necessary, straight to the point on this occasion, regularly in opposite to a more diversified appearance on Vespero albums. Quantum Ballad then offers a very nice symbiosis of acoustic and electric guitar. And I shouldn't forget the inspired bass playing on Scum. The last two tracks are valuable arguments to reach out for the compact disc or a download too. This especially applies to The Asteroid Of Living Machinery due to its groovy and lively flow. Well done again. Just put all those Vespero, Re-Stoned and Maat Lander albums in one box, close your eyes, and then randomly select. You definitely won't fail, never!

 Warrior On The Edge Of Time by HAWKWIND album cover Studio Album, 1975
4.11 | 613 ratings

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Warrior On The Edge Of Time
Hawkwind Psychedelic/Space Rock

Review by Progfan97402
Prog Reviewer

5 stars I managed to get an original UK vinyl copy where the cover folds out into a Chaos shield (it says "Chaos" on the shield, that's how you know). I've owned the American pressing on Atco for a few years, but nothing special about the packaging on that one. Whatever the case, this is one album, though I was aware of it almost as long as I've been aware of Hawkwind. I first heard of the band in 1992, but that name Hawkwind was familiar to me since 1986 from playing Ultima IV: Quest of the Avatar on the Atari 800XL as visiting the Seer Hawkwind was essential in completing your quest. Once I found out about the band, I started wondering if Richard Garriot (Lord British) was a Hawkwind fan. From 1994 to 1997 I bought a bunch of Hawkwind, but Warrior on the Edge of Time wasn't one of them. Which is something I totally regret.

This is truly one of their finest albums ever. It was their final album with Lemmy. Here it seems his bass playing has been toned down, and he doesn't sing on the album, but if you own a CD reissue you get "Motorhead" as a bonus cut, which was the B-Side to "Kings of Speed". This naturally screams Lemmy and became the name of the metal band he's famous far. This is without a doubt their proggiest album ever. The Mellotron is quite effective as well as some great use of synths. I already knew "Assault and Battery" and "Lives of Great Men" from live versions on their 1991 album Palace Springs (at the time I bought the cassette, in 1996, at a junk store, sitting next to New Kids on the Block and hair metal cassettes, I didn't realize the only new songs on that album were "Back in the Box" and "Treadmill"). I have to say they did those two songs justice on that version, showing they could do it live some 14 years later (all the material on Palace Springs dates from 1989, but released in 1991). So obviously these songs were very familiar, but instead of a Korg M1, tons of Mellotron was used, as well as some of the most ear piercing high-pitched synth leads you're ever going to hear. "The Wizard Blew his Horn" was another one of those spoken dialog pieces, not unlike "Sonic Attack". "Opa-Loka" was basically an instrumental piece that leads into "The Demented Man" (for confusion, the label read "The Demented King", but the inner sleever read "The Demented Man"). This sounded like Hawkwind attempting to sound like the Moody Blues. It's an acoustic Mellotron-dominated piece with parts that reminds me of "Watching and Waiting" (from To Our Children's, Children's Children). Of course you have Dave Brock, not Justin Hayward singing, and there seems to be a rather unsettling feel you wouldn't get off a Moodies albums. "Magnu" and "Dying Seas" are very much typical Hawkwind songs at their best while "Kings of Speed" is more rock.

No Hawkwind fan should ever be without this.

 Hiisi by KIKI PAU album cover Studio Album, 2018
4.00 | 1 ratings

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Hiisi
Kiki Pau Psychedelic/Space Rock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

— First review of this album —
4 stars After a five-year hiatus Helsinki based outfit KIKI PAU have a new splendid album ready to race. The main title points to woodland sprites which are deriving from diverse Finnish mythologies. Hence I would not be surprised if this album was developed somewhere in the nowhere, which means the endless nordic woods. Or at least will be inspired by diverse expeditions over there. Taking place in summer, some birds' twittering will give you a clue in between. The band is generally twin guitar driven, and since the start in 2007 the line up hasn't changed. A favourable move anyhow, concerning this album they have added a keyboarder, though not as a regular member, it seems. You'll experience an increasing flow, right up from a mellow psych folk drenched entree to a rather heavy and expressive finish.

Just let me say that KIKI PAU have everything done correctly, for example vocals are in English. Sorry, if I will cause negative feelings here and now. When it comes to rock music I don't like native Finnish singing, simple as that. With the title track couple they eventually are turning towards space and kraut rock with an obvious motoric and looping execution. Also some really meaningful synths are striking. The second part shows them hurrying up to a real rock band, even with headbanging qualities if you will. The extended Seeds finally replicates the album's flow in one go, supported by some nice violin attendance. Man! This foursome has provided an atmospheric new piece, no question. While hearing great sensitivity overall, meanwhile I really love this one.

 La Planète Sauvage (OST) by GORAGUER, ALAIN album cover Studio Album, 1973
3.78 | 25 ratings

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La Planète Sauvage (OST)
Alain Goraguer Psychedelic/Space Rock

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

4 stars LA PLANÉTE SAUVAGE (released as FANTASTIC PLANET in English speaking countries) was quite the hit back in 1973 when this animated cult science fiction film written and directed by Ren' Laloux and co-written by Roland Topor was awarded the Grand Prix special jury prize at the 1973 Cannes Film Festival. This strange story was about humans living on a different planet where they were under the subjugation of giant humanoid aliens who deemed them mere animals which was based on the 1957 novel 'Oms En Série' (Oms Linked Together) by French writer Stefan Wul. The film imagery is instantly recognizable by its posters of giant blue aliens in some sort of contact with humans with the most famous shot being the one where an alien is holding a human in its hand.

The film was fairly innovative and like any unique movie that wishes to express some sort of overall mood, LA PLANÉTE SAUVAGE required a soundtrack that would evoke the proper emotional responses. Better known for his work as the arranger for Serge Gainsbourg, ALAIN GORAGUER was chosen to adapt a musical experience of 25 short vignettes that each connected to create a larger experience. A strange choice for Laloux considering that GORAGUER had only one jazz album under his belt in the form of 1956's 'Go-Go-Goraguer' and another soundtrack for the children's show 'Un Enfant Nomm' Michel' in 1972. However perhaps he had the right idea to have a relative unknown to craft this unique alien world's soundtrack as to create a more mysterious vibe.

Despite the exotic theme of the film, the soundtrack is more grounded in the era it was crafted and very much sounds like it is based on Pink Floyd's 'Atom Heart Mother Suite,' which finds cool chilled out tempos, lots of mellotron and harpsichord and a whole bunch of wah-wah that evokes a funk flair that was also all the rage in the 70s. Like any good soundtrack, it was designed to accompany the film and not steal its thunder, therefore it is fairly repetitive but offers the subtle ingredients of jazz and progressive rock that fuel the variations of an overall theme. Given this was the 70s, the expected audience participation was that of those who could relate to a drug fueled hypnotic state that worked in tandem with the visuals.

The soundtrack itself has been released with no less than five album covers which found the original and each subsequent reissuing finding a new artistic representation the film, but personally mine is the first version which depicts a mottled blue alien looking down on a human holding him in its hand and provides the allegory of many of the occupations of humans against other humans throughout history as well as the pondering of whether humanity itself is herded by invisible forces from somewhere way beyond our atmospheric jurisdiction. Musically this soundtrack flows rather predictably with a mix of space rock fueled funk on chill out mode alongside circus themed waltzes that fit into the overall soundtrack trends that were popular in France and Italy during this period of time.

This mood bending mix of psychedelia, jazz and funk has been sampled by many hip hop artists of the new millennium as it has the same repetitive characteristic and subtle subliminal changes that the genre has excelled in. The original packaging was quite lavash as it included a 16-page booklet that described the entire story and included imagery from the film but found no credits for the musicians and as far as i know still remains a mystery with most sources giving credit to GORAGUER as sole creator and Roland Topor responsible for artwork, illustration and cover art. Despite engaging in rather lengthy careers, LA PLAN'TE PLANÉTE remains the most lauded creative peak of both director Laloux as well as musical achievement of GORAGUER and both film and soundtrack remain popular in the modern day era.

For my liking, a soundtrack rated on its own has to stand up on its own independently outside the context of the visuals that was designed to represent and in the case of LA PLANÉTE SAUVAGE, the music does succeed in evoking the period piece Euro soundtrack sound that makes me think of the space rock meets funk jazz musical projects of the day. While this is less dramatic than soundtrack bands like Goblin and despite the connection is not even remotely connected to the Serge Gainsbourg sound, it does however provide a super chilled-out drifting through the musical variations in a futuristic loungey electronic jazz scenario. Perhaps if this was made today, the music would be much more esoteric and alien sounding and would match the extraterrestrial imagery more suitably but given the era it was released, this must've fit in quite well with all the new freaky music that sounds pretty tame by today's standards.

 An Escape From a Box by CIRCUS 2000 album cover Studio Album, 1972
3.22 | 34 ratings

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An Escape From a Box
Circus 2000 Psychedelic/Space Rock

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

4 stars CIRCUS 2000 released their self-titled debut album in 1970 but didn't exactly catch the world by storm. Although they emerged from Turin, Italy, this band was one of the rare examples of a psychedelic rock band that completely ignored the trends that were sweeping Italy and instead looked to California's west coast scene of the late 60s inspiration. Touted as Italy's version of Jefferson Airplane, mainly due to the charismatic vocal style of Silvana Aliotta and backed up by folk inspired psychedelic pop, the band continued these elements that debuted on the first album and continued them on their 1972 sophomore album ESCAPE FROM A BOX which while completely performed with English titles and lyrics, has a tag along (FUGA DALL'INVOLUCRO) in the album title.

ESCAPE FROM A BOX is a much more polished album than the debut. The production is the obvious improvement. While the debut sounded raw and unpolished, this one add all kinds of nice smoothing out effects that allow the music to flow in more of the psychedelic ways that were probably intended on the debut as well. Stylistically ESCAPE FROM A BOX is a much mellower affair. If the debut album was an alternative version of Airplain's "Surrealistic Pillow" minus the top notch pop hooks, ESCAPE FROM A BOX is more like "After Bathing At Baxter's" or "Crown Of Creation," which adds more folk elements and subtle changes that meander around in far more progressive ways than the debut. The tracks are also lengthier with more time to develop beyond the short and to the point pop aspects.

ESCAPE FROM A BOX is more interesting than the debut. The tracks are more varied. There are more psychedelic effects and Aliotta doesn't sound as much like a second rate Grace Slick. The progressive touches have been amplified manyfold yet without jettisoning the 60s influences that dominated the debut. The album did find the new drummer Franco Lo Previte replacing original drummer Roberto Betti and adds a bit more jazzy touches in the percussion department. The track "Need" extends past the eight minute mark and offers some of the most diverse guitar parts of the band's career but once again on tracks like this i find that Aliotta evokes more a Shocking Blue vocal performance that Mauriska Veres belted out than what Grace Slick was all about. The pop hooks are more polished on this one as well which makes this a more engaging listening experience than album #1 as well.

While the band caught did catch more attention this second time around as they even won the Rome based competition "Festival d'Avenguardia e Nuove Tendenze," which they shared with the big prog player Banco Del Mutuo Soccorso, the band ultimately succumbed to lack of interest and disbanded. Personally i find it logically since the local Italian scene had well moved on from the psychedelic 60s and the saturated American scene had no room for European migrants to weasel into the already waning scene. Nevertheless, out of the two albums CIRCUS 2000 released, ESCAPE FROM A BOX is by far the more interesting for those who want a more progressive rock oriented experience. Despite outshining their debut, even this second album is a bit uneven with an awkward folky ballad styled intro opening up the album and not really picking up until "Our Father." However the best tracks on here are much more psychedelic than anything Jefferson Airplane every recorded and worth the price of admission alone. Aliotta would continue on as a solo artist but CIRCUS 2000 has pretty much been relegated to the obscurity bin with original albums fetching a hefty price tag.


A 3.5 star album but i'll round up because the second side is really good.

 Circus 2000 by CIRCUS 2000 album cover Studio Album, 1970
3.29 | 48 ratings

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Circus 2000
Circus 2000 Psychedelic/Space Rock

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

3 stars CIRCUS 2000 was one of the anomalies to have emerged out of Italy in the early years of the 60s beat / psychedelic rock scene morphing into the more complex styles that swept the early 70s. Described by some as Italy's version of Jefferson Airplane, CIRCUS 2000 did indeed buck the trend that Italian rock was undertaking at the time. While most bands of the day were staunchly fixed on using their own native tongue for lyrical expression as well steeping themselves in elements of classical and jazz rock, CIRCUS 2000 looked westward, the California scene more accurately for their inspiration. A surprising reverse scenario as at the time most Americans were looking towards Europe for much of theirs especially in the emerging prog scene.

The comparisons to Jefferson Airplane came not only from the fact that CIRCUS 2000 engaged in a psychedelically tinged form of progressive pop fronted by a charismatic female singer, in this case Silvana Aliotta who joined the already established group Best Genius and quickly changed their name (imposed change by the record company Ri-Fi), but also because even within their own nation, CIRCUS 2000 was mistaken for being an American band due to the fact that the song titles were in English as were the lyrics. The overall style does very much sound like something that would've emerged in the San Francisco scene rather than anything remotely Italian. Due to the band's crossover potential, the record label allowed the band to record the album in English but demanded that singles be released in Italian, however commercially speaking the band never really took off and released only two albums.

The eponymously titled debut album was released in 1970 and captured the zeitgeist of the changing times but mostly resides on the 60s side of the timeline. Firstly Silvana Aliotta exudes the perfect alter ego of Grace Slick with nearly identical vocal phrasings, stylistic flair with the hippie inspired mystical lyrics in full free love form, however i find she sounds a lot more like Mariska Veres of Shocking Blue who was also a disciple of Slick's feminine bravado. While similar with Jefferson Airplane stylistically speaking, CIRCUS 2000 doesn't sound like them exactly. More like the alternate universe version. While steeped in California psychedelic pop with catchy guitar rhythms augmented by bass and drums, CIRCUS 2000 eschewed any organs, utilizes tribal drumming and guitar slides that evoke some Indo-raga influences as well. An occasional harmonica is heard and of course at this stage, the blues is a major ingredient in the compositions.

While the attention getting album cover stands out amongst the burgeoning musical scene even by today's standards, the music doesn't. CIRCUS 2000 delivered a very pleasant slice of period piece psychedelic pop but in terms of catchy well-crafted hooky melodies doesn't reach the heights of either Jefferson Airplane or Shocking Blue for that matter. This debut is a rather short album just shy of the thirty minute mark and its 10 tracks are all very short and to the point, the perfect recipe for chart topping possibilities however the band never seems to shine in any way. While every track is performed nicely and flow into each other at an even keeled pace, CIRCUS 2000 hadn't quite mustered up enough individual flair for this to really stand out and despite falling into the camp of early progressive rock, this is much more pop oriented than many of the bands that were emerging in the scene by 1970. Still though, a pleasant listen and recommended for those who love to check out some of the obscurities of the era.

 The Wandering Caravan by RAGNI, MARCO album cover Studio Album, 2018
3.74 | 40 ratings

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The Wandering Caravan
Marco Ragni Psychedelic/Space Rock

Review by FragileKings
Prog Reviewer

4 stars Marco Ragni is a bit young to be a child of the flower power years but that has never stopped him from keeping the music of those years close to his heart. His 2018 release "The Wandering Caravan" is a prime example of his devotion to the music of the late sixties and early seventies. But Marco is not one to simply attempt to resurrect the past. Marco's music seems to have come exactly from those days and is then filtered through Marco's magnificent brain.

The album begins with a bird's call and footsteps outside before a psychedelic acoustic guitar makes us want to just lie back and chill, letting the notes carry us into our minds. Then abruptly, the whole band drops in with a wham and now we're on an electric ride. With barely a proper warning, the music halts and permits some strumming of an acoustic guitar. At last now we here the lyrics to "What We have Done in the Past We'll Be in the Future," the first track of the album. It's an 11:25 song that delivers thought-provoking lyrics, followed by an exciting psychedelic rock passage with organ and electric guitar solos. Take note of the saxophone in the song, too. This track is an excellent introduction to the album and you can expect more of this kind of music.

"Waiting On the Threshold" begins with some thoughtful piano and singing, but at the line "And I saw that all is not lost," the music is given over to a clean electric guitar that wanders with a bass guitar into 1969 and searches absentmindedly for meaning until Marco comes back to gives us more singing, accompanied by flute. Then more of this psychedelic guitar, soaring and diving.

Before long, my impression of this album is that we are listening to poetry set to music and music set to poetry. It's like each song is part of a series of related thoughts. The music keeps changing and delivering different themes but there's an overall cohesive atmosphere. As if to confirm this, at least twice a track will reference a bit of music from a previous track. It's also interesting to note how sparse yet profound the music can be during some of Marco's poetic illustrations in the lyrics while at other times, during the instrumental passages, the music can be more fluid and adventurous.

This is not just an album for lying back and relaxing to. The music will tell you that the lyrics demand to be heard and weighed. As such, this is no light listening if one is to become fully absorbed. There's little in the way of catchy hooks and sing-a-long melodies. This is more of a journey through the thoughts of a man considering his and our place in life and time. Meanwhile, hints of Pink Floyd, Jefferson Airplane, and others emerge here and there.

As an interesting aside, this album was way up near the top of the PA Top 100 of 2018 back on June 18th of this year. Listeners seem to agree that this album has its share of magic.

 Fragments Of Light by SENSATIONS' FIX album cover Studio Album, 1974
3.55 | 55 ratings

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Fragments Of Light
Sensations' Fix Psychedelic/Space Rock

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars By 1974 prog rock was yielding to decadence as a dominant genre, and, while many superb releases would follow to this day, it was becoming increasingly challenging to furnish a breakthrough or even establish a niche. It is from the latter more modest school that Franco Falsini's SENSATIONS' FIX emanates. First of all, "Fragments of Light" bears more resemblance to the wave of German electronica fronted by POPOL VUH and TANGERINE DREAM, with nods to Krautrock Alter Cockers AMON DUUL 2 and MYTHOS, than to the accomplishments of the big boys from Italy before, during or after this point in time.

Most of the lead instrumentation is operated by Falsini, who seems to play by feel and perception more than by stanza and sheet. Alternating from amorphous moogy atmospheres to surprisingly hummable numbers, "Fragments of Light" is at its best when it evinces a pseudo surf electronica in the form of the title cut, the brilliant folk-tinged "Music is Painting in the Air", and the whirring alt country of "Life Beyond Darkness". Another favorite is "Space Energy Age", particularly the first part, as the effect of the second is somewhat dampened by rare vocals.

"Fragments of Light" seems to have arisen from simultaneous circumstances that can't be simulated or imitated. Its uncommon etiology and Falsini's innate grooviness combine to make it more than a mere historical curiosity, albeit modestly so.

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Psychedelic/Space Rock bands/artists list

Bands/Artists Country
ÄLGARNAS TRÄDGÅRD Sweden
3 LEAFS United States
35007 Netherlands
3RD EAR EXPERIENCE Multi-National
THE 4 LEVELS OF EXISTENCE Greece
ABUNAI! United States
ACID FLORIANI Russia
ACID MOTHERS TEMPLE Japan
AD'ABSURDUM Switzerland
ADDICTHEAD Switzerland
AGAMEMNON Switzerland
AGUSA Sweden
AHKMED Australia
AHORA MAZDA Netherlands
AKASHA Norway
ALAMEDA 5 Poland
ALASEHIR United States
ALEX DELIVERY United States
ALHAMBRA Italy
ALICE France
ALIEN PLANETSCAPES United States
ALIENTAR United States
ALITHIA Australia
ALMUADEM Portugal
ALPHA NORD Germany
ALPHA OMEGA Australia
ALRUNE ROD Denmark
AME SON France
AMONULLUNOMA Ireland
THE AMORPHOUS ANDROGYNOUS United Kingdom
AMPACITY Poland
AMPLIFIER United Kingdom
ANALOGY Italy
ANDROMEDA SPACE RITUAL Poland
ANGEL'IN HEAVY SYRUP Japan
ANNOT RHÜL Norway
ANONIMA SOUND LTD. Italy
ANTA United Kingdom
ANTLERS United States
DADDY ANTOGNA Y LOS DE HELIO Argentina
ANUBIAN LIGHTS United States
APHODYL Germany
APPALACHIAN TRANSLATOR United States
APRYL FOOL Japan
APTEKA Poland
AQUA NEBULA OSCILLATOR France
AQUANAUT Australia
AQUASERGE France
AQUELARRE Argentina
ARCADIUM United Kingdom
ARCHITECTURAL METAPHOR United States
ARILYN Germany
ARZACHEL United Kingdom
ASSEMBLE HEAD IN SUNBURST SOUND United States
ASTRA United States
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
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
BËIRUTH 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 BOULÉ 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
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
CARRÉ.LADICH.MARCHAL Multi-National
CATHARSIS France
CATS ON THE ROOF Ukraine
CAULDRON Sweden
CAUSA SUI Denmark
CAVE United States
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
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 DOPPELGÄNGERS 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
ELMER GANTRY'S VELVET OPERA United Kingdom
ELOY Germany
AN EMERALD CITY Multi-National
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
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
FÖLLAKZOID 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
THE FUTURE KINGS OF ENGLAND United Kingdom
GALACTICKA Finland
GALÁPAGOS 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
HASH JAR TEMPO Multi-National
HAUNTED LEATHER United States
HAWKWIND United Kingdom
A HEADFULL OF MONSTERS United Kingdom
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
HIDRIA SPACEFOLK Finland
HIGH DEPENDENCY UNIT New Zealand
HILLS Sweden
HIMMELLEGEME Norway
HISKO DETRIA Finland
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
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
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
KANZEON Japan
KARABA Germany
KARAKORUM Germany
KARMA CANON United States
KARMIC SOCIETY Germany
KARUNA KHYAL Japan
KAULA SPANDA Russia
ROSE KEMP United Kingdom
PAUL KIDNEY EXPERIENCE Australia
KIKAGAKU MOYO Japan
KIKI PAU Finland
KILL FOR TOTAL PEACE France
KILLFLAVOUR Germany
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 ÖRÖM Hungary
ERKIN KORAY Turkey
KOSMOS Canada
KOUSOKUYA Japan
KOZMIC MUFFIN Spain
KRAUTZONE Germany
KREL United Kingdom
KROM LEK United Kingdom
KUNGENS MÄN 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
LES RALLIZES DENUDES Japan
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
LÜGER 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
MAMMAL MACHINE Japan
MAMMATUS United States
MAN United Kingdom
MANBURGER SURGICAL United States
THE MANDRAKE MEMORIAL United States
MANTA RAY Spain
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
MÁSFÉL Hungary
MASTER MUSICIANS OF BUKKAKE United States
MATUSHKA Russia
MECHANIK Spain
MELTING EUPHORIA United States
MERKABAH Poland
MESS Estonia
MESSAGE Germany
MIDDAY VEIL United States
MIDNIGHT ZOMBIE ALLIGATOR Spain
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
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 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
ØRESUND SPACE COLLECTIVE Multi-National
ORGANIC IS ORGASMIC Russia
ORION TANGO United States
ORION'S BEETHOVEN Argentina
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
THE PANCAKES Germany
PANTA REI Sweden
PAPIR Denmark
PARADISE 9 United Kingdom
PARADOX United Kingdom
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PARALLEL OR 90 DEGREES United Kingdom
EL PÁRAMO Spain
PAVALLION Germany
PÉLOQUIN-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
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PSYCHE BUGYO Japan
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PURPLE OVERDOSE Greece
PUSSY United Kingdom
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QOPH Sweden
QUANTUM FANTAY Belgium
QUARKSPACE United States
QUEEN ELEPHANTINE United States
RA CAN ROW United States
RÅD 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
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
RODOTOTOED Mexico
ROOT United Kingdom
THE ROOTS OF ECHO Sweden
ANDREW DOUGLAS ROTHBARD United States
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