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PSYCHEDELIC/SPACE ROCK

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Psychedelic/Space Rock definition

Psychedelic Progressive Rock

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

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

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

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


Progressive Space Rock

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

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

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


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

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

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


A path that never ends

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

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


Psychedelic Rock / Space Rock team April 2010

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


Current Psychedelic/Space Rock Team Members
as at December 2013

Uwe (Rivertree)
Keishiro (DamoXt7942)

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 | 2881 ratings
WISH YOU WERE HERE
Pink Floyd
4.59 | 3043 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 2547 ratings
ANIMALS
Pink Floyd
4.30 | 2140 ratings
MEDDLE
Pink Floyd
4.22 | 700 ratings
OCEAN
Eloy
4.10 | 461 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.11 | 310 ratings
JURASSIC SHIFT
Ozric Tentacles
4.14 | 199 ratings
TOGETHER WE'RE STRANGER
No-Man
4.05 | 2094 ratings
THE WALL
Pink Floyd
4.10 | 218 ratings
LEGACY
Hypnos 69
4.05 | 441 ratings
DAWN
Eloy
4.05 | 397 ratings
A TAB IN THE OCEAN
Nektar
4.04 | 390 ratings
THE OCTOPUS
Amplifier
4.13 | 120 ratings
BY THE WATERS OF TOMORROW
Vespero
4.17 | 93 ratings
THE FUTURE KINGS OF ENGLAND
Future Kings Of England, The
4.04 | 345 ratings
PLANETS
Eloy
4.02 | 440 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy
4.25 | 64 ratings
TAKO
Tako
4.03 | 259 ratings
RITUAL
Nemrud
4.17 | 81 ratings
PARALLEL WORLD
Far East Family Band

Psychedelic/Space Rock overlooked and obscure gems albums new


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

GAMELAN INTO THE MINK SUPERNATURAL
Psychic Paramount, The
TAMBOURINE FREAK MACHINE
Dragontears
HORIZONTE DE SUCESOS
Bëiruth
BABY GRANDMOTHERS
Baby Grandmothers

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Latest Psychedelic/Space Rock Music Reviews


 Legacy by HYPNOS 69 album cover Studio Album, 2010
4.10 | 218 ratings

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Legacy
Hypnos 69 Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

4 stars This is the latest album from Belgium's HYPNOS 69 and for me it's a big step up from their previous record "The Eclectic Measure". The main issue I had with the previous album was the vocals, i'm just not a fan of the tone of them when he sings with passion. And while this issue had an influence on my rating for that one, I feel they've upped their game in a major way here making this a solid four star albums despite some perceived flaws by yours truly. I agree with Hugues that they've changed their sound somewhat to more of a KING CRIMSON flavour circa "In The Court Of The Crimson King" / "Islands" sound with the prominant sax and mellotron at times. So yes "Legacy" is an apt title for this recording. This is an almost 73 minute album yet the time flies by when listening, that says a lot.

Things get started with the almost 18 minute opener called "Requiem(For A Dying Creed)". It hits the ground running and this continues for almost 2 minutes when it settles down and vocals join in. So much going on here as the bass, organ, guitar and mellotron impress. It settles back even more 4 1/2 minutes in with clarinet helping out. Great section before 7 minutes with sampled spoken words then it kicks in hard with some ripping sax. The guitar takes over then themes begin to be repeated starting around 10 minutes. Love the guitar solo after 16 minutes that goes on to the end. Nice! "An Aerial Architect" reminds me of "21st Century Schizoid Man" for almost a minute with the heaviness and sax, then it settles down with vocals. This is a pretty good sax driven tune people and check out the sound just after 5 minutes. "My Journey To The Stars" has this intricate and relaxed sound as reserved vocals join in. Clarinet replaces the vocals before 2 minutes and we get some floating organ as well. A tasteful guitar solo 3 1/2 minutes in that becomes passionate as it plays out. I like the spacey final minute.

"The Sad Destiny We Lament" has a PINK FLOYD vibe with those melancholic synths. Vocals join in as well in this psychedelic beauty. "The Empty Hourglass" is almost 11 minutes in length and one of my favourites. It opens with some excellent drum work as the guitar and organ join in and light it up early on. Vocals and sax take over as it settles back some. I like the calm with sax after 3 minutes as it trips along. Mellotron 6 minutes in as the guitar starts to solo. Vocals follow then a big finish. "Jerusalem" has a relaxed sound to it with clarinet and vocals. Check out the sax later on as the sound turns heavier. "The Great Work" ends it and this is the 18 1/2 minute closer. This is slow moving and beautiful with spacey keys, subtle guitar notes and plenty of mellotron. Words speak out of the floating soundscape. Drums before 3 1/2 minutes and the guitar becomes more passionate, organ too. It kicks in harder after 5 minutes, amazing! It settles down again then a guitar solo arrives 9 1/2 minutes in followed by sax a minute later. The sax is insane 12 1/2 minutes in then mellotron arrives a minute later. A calm arrives after 15 minutes to the end.

Yes this one grew on me as my first listen didn't go all that well. I'm still not big on the vocals but this is easily 4 stars despite them.

 Dark Side Of The Moon by PINK FLOYD album cover Studio Album, 1973
4.59 | 3043 ratings

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Dark Side Of The Moon
Pink Floyd Psychedelic/Space Rock

Review by stefanblazanovic

2 stars Okay I was tempting myself to give this album a 1 star out of 5 but I couldn't. The thing about this album is that it puts me to sleep. Or as I like to call it a snoozefest. I was never so bored with an album I had high exceptions for. The truth is that there is many pink Floyd albums albums that are better then dark side of the moon. (aka. Animals, Wish you were here.) I guess I don't see what's so magical about this album. And the fact that DSOTM is more of a pop rock album rather then a progressive rock album.

The only thing stopping me from giving this a 1 star is that that this album is so iconic and brings the progressive rock image into the spotlight but other then that this is going to be a 2 out of 5 stars for me. Sorry pink Floyd fans...

 Extasis En Tus Venas by VLAD TEPES album cover Studio Album, 2014
3.00 | 1 ratings

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Extasis En Tus Venas
Vlad Tepes Psychedelic/Space Rock

Review by progadicto

— First review of this album —
3 stars Have to say that I'm not a big fan of psych/space rock stuff perhaps I had some favorites bands in this genre and I'm always open to find new sounds to keep my mind occupied enjoying some great tunes. That was one of the reasons that make me hear Vlad Tepes first album.

An intro simulating recent radio news mixed with excrepts of songs made by well-known argentinian musicians open the way to de "Part I" of the album, an instrumental journey that reminds the most exquisite and heavy psychedelic sounds of the 70's with a hard rhythmical base mixed with slow and soaring sections, enigmatic impros and surprising breaks always leaded by an omnipresent guitar.

Perhaps it's a well elaborated album built on the great technique of their musicians, I can perceive a little lack of originality until the irruption of spanish vocals son "Part II". Here the things turns into another kind of journey more structured but still psychedelic that ends with a very interesting jazzy impro before the "Part III", a track that mixes some heavy guitar sections with some proggy (and succesfull) attempts.

"Part IV" close the circle repeating the formula of the previous tracks, narrating with spanish lyrics the end of that particular "ectasy".

For few minutes you can compare Vlad Tepes with other similar musical experiments from this part of the world such as El Diablo or Pez. Perhaps the comparisions are obviuos (and even annoying) "Éxtasis en Tus Venas" (Ectasy in Your Veins) it's a very honest proposal that in almost 40 minutes deploys not just the talent of their musicians but even some nice and remarkable sections that every psychedelic fan would love.

 Portable Madness  by SENSATIONS' FIX album cover Studio Album, 1974
3.98 | 49 ratings

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Portable Madness
Sensations' Fix Psychedelic/Space Rock

Review by apps79
Special Collaborator Neo Prog Team

3 stars Reputedly the place were Sensations' Fix were recording their albums was a farm house near Florence, where they had built their own studio.While ''Fragments of light'' was more of a demo-like effort, the next work of the band ''Portable madness'' marked their first properly recording attempt, composed entirely by Falsini and produced by Filippo Milani.It was issued in 1975 on Polydor.

With this album Sensations' Fix turn a bit towards more rocking-based textures, defined by the many isolated guitar parts, but they still show a preference towards a very spacious sound.The music had become more complex with a great combination of neurotic analog synthesizers and sinister bass lines, interrupted often by heavier guitar moves and spacey distortions.Instead of building their style on the TANGERINE DREAM principles and the MIKE OLDFIELD-like textures, they went on for a more personal sound, which now included melancholic atmospheres, dramatic Electronic moods and pounding beats.Falsini had established his own way to combine synth manipulations with spacey guitar vibes, delivered via odd grooves, intricate solos and even some bombastic, still trippy moments.Gone are the long hypnotic parts of the debut and the whole material here sounds much more energetic and passionate with dual keyboard experiments, always surrounded by the solid bass work and drumming.The album is entirely instrumental and, unlike many works of the style, it shows a strong sense of careful structuring with limited loose parts and very tight composing.

Great work of synth-based Space Rock with series of unique atmospheres.Better than Sensations' Fix'es debut, featuring a good bunch of electric moves among the thunderous synth lines.Strongly recommended...3.5 stars.

 Arborescence by OZRIC TENTACLES album cover Studio Album, 1994
3.91 | 153 ratings

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Arborescence
Ozric Tentacles Psychedelic/Space Rock

Review by ster

4 stars Having the disadvantage of being released after the masterpiece "Jurassic Shift", Arborescence seems to be a somewhat overlooked album by OT. Instead of being an album with great material along with so-so material, Arborescence, track by track, is consistently very good. Still it's one of my favorites by them for that reason, consistency. Arborescence continues their trend of giving a cross-reference of styles. Ranging from far out, hyper space rock (Astro Cortex & Myriapod) chill-out atmospheres (Dance Of the Loomi and Arborescence) space reggae (There's A Planet Here), ethnic inspired tunes (Shima Koto and Al-Salooq) and my favorite "Yog-Bar-Og" which is a wonderfully complex but refreshingly sublime space rock workout. Not the best OT album but a collection devoid of any bad tracks. A strong effort and an excellent addition to any prog rock music collection for sure.
 Louder Than Words by PINK FLOYD album cover Singles/EPs/Fan Club/Promo, 2014
4.21 | 20 ratings

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Louder Than Words
Pink Floyd Psychedelic/Space Rock

Review by aglasshouse

4 stars Although I cannot rate 'The Endless River' on here due to the said rating abuse attacks on it which have caused it to be taken down indefinitely, I'm going to review the only material on the site, the single Louder Than Words.

Listening to this piece amazed me, for I had thought that Gilmour and Mason would lose their stride in their old age. I was wrong. The vocals still retain top notch quality, the music is a little slower than other Floyd tracks, but is still a great addition to any fan's prog collection.

I would say that if you are hesitant to pick up The Endless River, then listen to this first, and see how you like it. Of course the entire album won't be like it, but it does retain some of the theme and should be grounds on whether or not to get it.

Go give it a listen.

 Obscured By Clouds by PINK FLOYD album cover Studio Album, 1972
3.37 | 1059 ratings

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Obscured By Clouds
Pink Floyd Psychedelic/Space Rock

Review by aglasshouse

5 stars Back when I was new to Pink Floyd, I overlooked this album, thinking it was just a weak, non-essential album. So instead, I bought the more known and praised albums. I have extremely enjoyed releases like 'Dark Side of the Moon', 'The Wall', 'Wish You Were Here', and especially 'Animals'. However, when my childhood friend bought me it while he was out at a music store, I eagerly slotted 'Obscured by Clouds' into my CD input. And I was totally blown away by this album.

Of course, this isn't the first time PF has attempted a film-score, with most the two most notable soundtracks by them including the 'Zabriskie Point' and 'More' among them. To really give a clear understanding of 'OBC', I'm going to juxtapose it with 'More', the other most known of their soundtracks.

Even with a relatively short time gap of three years (More (1969), Obscured by Clouds (1972), these two albums could not be any more different. With 'More', there was a clear and edgy psychedelic rock sound to it, while 'Obscured by Clouds' has a totally different and dominant prog rock sound.

Also, the album gives a clear point to their next album, 'Dark Side of the Moon'. In fact, if you listen to 'Childhood's End', the sound is so distinct, to me it sounds like a demo from the 1973 album.

Some highlights include my personal favorite PF song, "The Gold It's In The...", with a surprisingly hard-rocking jazz beat with free-flowing lyrics. The Water's written track "Free Four" is an excellent song, along with, as stated before, 'Childhood's End'.

I would say that this album is definitely my favorite by Pink Floyd, and I would strongly suggested people to not pass over it as a non-essential album.

Go give it a listen.

 The Megaliths: The Movie Soundtracks Volume 1 and 2 by SENDELICA album cover Boxset/Compilation, 2013
3.00 | 1 ratings

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The Megaliths: The Movie Soundtracks Volume 1 and 2
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars Welsh band SENDELICA have been around for close to a decade at this point, a band more renowned in psychedelic rock circles than in their native Wales from what I understand. They are an active live and recording unit, with close to a dozen full length productions to their name as of 2014. "The Megaliths" is a collection of material recorded between 2008 and 2012, and was released in December 2013.

This collection of material is a fairly mammoth one. It is sold either has a double CD clocking in at 2 hours or as a limited 3 CD set (now sold out) with an additional half hour of material. This latter version is also the one sold digitally. As the second part of the album title indicates this is a collection of material created as soundtracks, and as such this production isn't readily comparable to the other releases by this band as far as overall style is concerned.

Soundtrack music, real soundtrack music that is, is something radically different from other types of music, at least in my book. This is music that generally should have more of a subservient nature to them, enhancing an experience that revolves around images. If it is a documentary or a cinema movie, the role of the music is to enhance whatever is happening on screen without doing it in a manner that takes away the focus from the story told by the images. In reality the case isn't quite as black and white of course, as a long line of hit songs given plenty of space in cinema features over the years have documented, but in general that is the ideal. One of the best movie and music experiences of this kind I can recall is The Sixth Sense and how the soundtrack truly enhanced the overall experience on that occasion whilst still staying mostly unobtrusive.

The interesting question is how music of this kind manage to engage outside of the movie it has been made for. Does it work also in it's own right? In some cases soundtrack music can be quite the tasteful experience as standalone entities, the main theme from the classic sci-fi movie Blade Runner comes to mind, in other cases the impressions aren't quite as favorable. Some of this obviously comes down to individual taste obviously, as is the case with music in general. On this collection of material my experience is that we're provided with most varieties here. Some of the material is strong, consistent and have a distinct presence that makes them enjoyable experiences in their own right, others comes across as music with more of a marginal scope.

With one exception the compositions here all revolve around fairly mellow landscapes, with limited drums or percussion effects involved at best. Plucked guitars, careful cosmic effects and careful and deliberate guitar soloing are the main starts of the show, with the saxophone given some runs here and there as the main additional effect. Voice effects enhance some of these dampened cosmic journeys, but never in a dramatic manner. The word unobtrusive fits the greater majority of the material, and words like frail and delicate describe the greater majority of the material explored.

Trillian Eight is probably the track here that for me represents the least interesting scope of the material best. I have no doubts at all that it functioned brilliantly as a soundtrack feature, but the loose jam aspect of this creation along with it's overall unobtrusive nature didn't make the cut for me as far as being an interesting number in it's own right. This is the kind of track that to my mind cries out for the images it was made to support. While the song does intensify in sections when it reach the final third it is too little and too late for my personal taste in music at that point. That we're dealing with a track that is just a wee bit shy of the half hour mark is probably a detail that warrants a mention here I guess.

It's not that Sendelica is a band that are unable to create interesting material that stretch on a bit, as well documented by the Pink Floyd meets Hawkwind and then Hawkwind meets Robin Trower opening twenty or so minutes of the concluding half hour marathon When the Falling Angels Meet the Rising Apes, but Sendelica sounds much better when they are able to do so in the more dramatic, intense and audible manner of this creation and not quite as interesting when they revolve around a more unobtrusive and ambient oriented foundation.

To Create Is Divine is one of the highlights here, the distinct bassline used throughout this piece and the clever guitar details giving this song a stringer nerve and spirit than many of the other songs here, and the subtly more Hawkwind sounding I Don't Wanna Be Your Satori another creation that managed to elevate itself in my ears due to more nerve, more contrast an a character that generally shies away somewhat from being mainly unobtrusive.

This doesn't make "The Megaliths" a poor production though, as the various soundscapes are all excellently assembled, quite a few of them featuring delicate instrument details on top of what sounds like more or less loosely improvised jams that have been mixed down to have a distant and subservient place in the arrangements. It's more a case of material with more of a marginal scope and reach, at least in my opinion. If you enjoy ambient material of the psychedelic and cosmic flavored kind and really enjoy immersing yourself in the mood and feel of such material without being distracted by dramatic impulses then this production is one you should take note of, and much the same can be said if you tend to enjoy careful, delicate material of the psychedelic and cosmic kind.

 Woodlands by BARRETT ELMORE album cover Studio Album, 2012
3.91 | 9 ratings

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Woodlands
Barrett Elmore Psychedelic/Space Rock

Review by Progulator

4 stars Barrett Elmore's latest effort, Woodlands, brings to the table what I consider to be a fine representation of psychedelic prog that sounds extremely classic while maintaining a modern edge. Buried beneath ambient layers of chorusy guitars and grooving basslines there is something definitively Swedish going on here, perhaps it's that tad bit of haunting melancholy that permeates songs such as the title track, "Woodlands." While psychedelic isn't generally my cup of tea, I will say that thoroughly enjoyed this album and recommend it to all, especially to those who are into the Swedish scene in general and those who are have been wanting to dig a little more into psychedelic prog but haven't yet done so.
 Layers Of Stratosphere by RAVEN SAD album cover Studio Album, 2011
3.82 | 34 ratings

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Layers Of Stratosphere
Raven Sad Psychedelic/Space Rock

Review by Progulator

3 stars I'll start off my review by saying that this is an Italian album which could have fooled me into thinking it was a German album. Whether or not that's where the influences actually are, it seemed to have a bit of that good ol' krautrock/space rock feel characterized by lots of ambience, synthesizer arpeggiation and super-grooving bass lines. There's lots of great texturing going on here, melodic guitar playing, and nicely composed synth parts that are always melodic and purposeful and never feeling like you have to keep up with them; even the leads are more there for ambience and feel than anything else. "Mind Flies" is a great example of this. The two downsides for me were that the vocals never really grabbed me. They weren't frequent, but when they were present, for example, in tracks like "The Highest Cliff," I always felt like the singer's voice was a bit too mundane for my tastes. The other downside is that while all the tracks were good and fun to listen to, there wasn't really a track that blew me away. Everything was good, this is definitely a good album, but nothing was amazing. However, in the end, this could be just my preference. I would definitely recommend this to people who are big fans of space rock; I think they would most likely be quite pleased. Layers of Stratosphere is most certainly an enjoyable album from start to finish.
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Psychedelic/Space Rock bands/artists list

Bands/Artists Country
3 LEAFS United States
35007 Netherlands
3RD EAR EXPERIENCE Multi-National
THE 4 LEVELS OF EXISTENCE Greece
A HEADFULL OF MONSTERS United Kingdom
ABUNAI! United States
ACID FLORIANI Russia
ACID MOTHERS TEMPLE Japan
AGAMEMNON Switzerland
AGUSA Sweden
AHKMED Australia
AHORA MAZDA Netherlands
AKASHA Norway
ALASEHIR United States
ALEX DELIVERY United States
ALGARNAS TRADGARD Sweden
ALHAMBRA Italy
ALICE France
ALIEN PLANETSCAPES United States
ALIENTAR United States
ALITHIA Australia
ALMUADEM Portugal
ALPES & CATHERINE RIBEIRO France
ALPHA OMEGA Australia
ALRUNE ROD Denmark
AME SON France
AMONULLUNOMA Ireland
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