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PSYCHEDELIC/SPACE ROCK

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Psychedelic/Space Rock definition

Psychedelic Progressive Rock

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

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

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

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


Progressive Space Rock

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

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

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


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

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

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


A path that never ends

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

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


Psychedelic Rock / Space Rock team April 2010

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



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



Psychedelic/Space Rock Top Albums


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

4.62 | 3596 ratings
WISH YOU WERE HERE
Pink Floyd
4.60 | 3784 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 3202 ratings
ANIMALS
Pink Floyd
4.30 | 2711 ratings
MEDDLE
Pink Floyd
4.21 | 893 ratings
OCEAN
Eloy
4.16 | 274 ratings
LEGACY
Hypnos 69
4.11 | 567 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.40 | 60 ratings
OBSOLETE
Hedayatt, Dashiell
4.12 | 345 ratings
RITUAL
Nemrud
4.11 | 383 ratings
JURASSIC SHIFT
Ozric Tentacles
4.07 | 2589 ratings
THE WALL
Pink Floyd
4.12 | 233 ratings
TOGETHER WE'RE STRANGER
No-Man
4.16 | 149 ratings
BY THE WATERS OF TOMORROW
Vespero
4.16 | 138 ratings
KINGSTON WALL II
Kingston Wall
4.06 | 492 ratings
A TAB IN THE OCEAN
Nektar
4.27 | 72 ratings
OTRA DIMENSIÓN
Ekos
4.03 | 523 ratings
DAWN
Eloy
4.02 | 545 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy
4.05 | 267 ratings
EVERYONE INTO POSITION
Oceansize
4.16 | 98 ratings
TAKO
Tako

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

BABY GRANDMOTHERS
Baby Grandmothers
UGISIUNSI
Quantum Fantay
NEM TUDOM A NEVED (Ω VI)
Omega
SATORI
Flower Travellin' Band

Latest Psychedelic/Space Rock Music Reviews


 Trip Hazard by BROTHERHOOD OF THE MACHINE album cover Studio Album, 2014
4.39 | 9 ratings

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Trip Hazard
Brotherhood Of The Machine Psychedelic/Space Rock

Review by Replayer

5 stars Trip Hazard is the Brotherhood of the Machine's second and, sadly, last album to date. In my humble opinion, the album improves on its predecessor by taking the best elements and further refining them. The album title is once again a pun, since "trip" can be taken to mean "fall" or "drop" as well as "journey" (which I venture can refer to both a physical and psychological kind).

Clocking at 48 minutes, the album exceeds the time limitation of the classic LP length, but is comprised of only three tracks. Trip Hazard is recorded in entirety by brothers Dave (aka Davesax1965 here on PA) and John Francis, whereas Future Imperfect included contributions from Janne Hanhisuanto. Dave plays keyboards, saxophones and drums, while John is credited with guitar. Featuring a stately Middle Eastern melody and percussion, Meditation of the Blue Serpent continues in the vein of the debut album's Samarkand Suite. Dave Francis' echoed saxophone makes a return, playing the main melody at times.

In a nod to its Berlin School influences, the second track bears the German title Hin and Züruck, which translates to "Roundtrip" or "Down and Back". Clocking in at over 36 minutes, this mammoth rhythm-oriented track serves as program music for a psychedelic train trip, complete with train whistles, rain effects, German vocal samples and sequencer parts that vividly evoke the chugging of a steam-powered engine. In spite of its length, the track maintains the listener's attention by having instruments and sound effects continually drop in and out and having the sequencer part change every few minutes. Interestingly, the sequencer patterns reflect the roundtrip concept by cycling in reverse order back to where they stated (something like ABCBA). To summarize: this is a great effort in the style of Berlin school electronica that should appeal to fans of mid-70s Tangerine Dream (interestingly, TD's 1979 album Force Majeure features a short section with train sounds). A bold effort, chaps.

The album closes with Flying Saucer Patrol, a high energy electronic rocker with Dave's thundering drums and John's distorted guitar overlaid on top of a pulsing sequencer part. This is a fantastic album closer that pumps up the listeners and leaves them wanting more; I'm just not sure on how to parse the title: does it refers to a patrol that is on the lookout for flying saucers or are the flying saucers out on patrol themselves?

Normally, I admit don't pay much attention to drumming in rock as perhaps should, except a few of my favorite drummers such as Bill Bruford, Ginger Baker, Ian Paice or Michael Giles. However, in progressive electronic music, I think it adds a personal touch to a genre that can often sound too coldly mechanical and synthethic (pun very much intended). In addition, the drums here sound very professionally recorded and not muffled at all, which is no mean feat for a self-produced recording.

I'm not sure whether the trip concept is restricted to Hin and Züruck or whether Meditation and Patrol are also meant to be trips, though I can see how they relate. Regardless, Trip Hazard is an excellent effort that should appeal to those who like their electronic music with plenty of drums and a psychedelic flavor.

 Crystals by SHAMAN ELEPHANT album cover Studio Album, 2016
3.95 | 3 ratings

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Crystals
Shaman Elephant Psychedelic/Space Rock

Review by aapatsos
Special Collaborator Prog Metal and Heavy Prog Teams

4 stars The problem sometimes with gem albums is that they get released in December and thus missed off our top lists. This needs to stop. Shaman Elephant add another worthy progressive rock album to the thriving scene of Norway. If prog rock is your destination, Bergen is the place to be, not sure what's in the water over there...

The title track carries a captivating main riff that reminds me of Sabbath's most uplifting moments and despite its 8+ mins duration its a track you would easily call "trippy" and would accommodate you on your drives. 'Shaman in the Woods' plays with late 60's psychedelia on a lethargic, druidic (sic) tempo; Woodstock, elephants, purple haze and you get the picture. Sounds like a lot of Rise Above Records artists who have developed a keeness of folk and paganism. 'IAB' is back on elevated grooves with semi-distorted riffs crossing Hendrix and indie rock infused with enough keyboards to differentiate it from the typical heavy rock sound. 'Tusco' bears the highest resemblance to co-Bergeners Seven Impale; the keys and slight distortion give it away while the track floats on a delightful and melodic smooth jazzy pattern of Mahavishnu Orchestra meets The Tangent. A creeping, doomy riff appears in the first 2 minutes of 'The Jazz' before giving way to a psych mid-tempo which would make Atomic Rooster proud of their legacy. Perhaps the only complaint is the rather unecessary couple of last minutes. The closer 'Stoned Conceptions' is a heavy blues epic in the vein of Led Zeppelin (...Since I've Been Loving You...) that attempts to, but only really does, kick off with a slight quickening and guitar solo in the last 3 minutes, resembling to the opener and thus finely completes the circle.

I can't really see why a prog fan would not enjoy this groovy roadtrip; particulary recommended to fans of Seven Impale albeit with a more straightforward, heavy psych and proto-prog vibe. A band to watch.

 Rakennus by CIRCLE album cover Live, 2007
3.33 | 3 ratings

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Rakennus
Circle Psychedelic/Space Rock

Review by Mortte

3 stars "Rakennus" (= a building) is another Circle live record from the past. It was recorded from Twisted Branch Tea Bazaar, Charlottesville, Virginia during their US tour in 2007. In their wiki sites I read that they`ve have recorded all the gigs from that tour. So I got aswer to my wondering in last review, they haven´t (yet) released all they`ve recorded. It´s of course possible they will release more material from that tour in the future, quite recently they`ve released two albums from their european 2014 tour. This album, like many Circle live albums includes quite much improvised material.

After ambient intro from Panic-album they start to play "Uusi Uhraus" (= a new sacrifice). It´s one riff song with Mika singing nonsense. Next comes their satisfaction "Nopeuskuningas" (a speed king) (Mika has said in one interview that he can´t understand why Stones plays Satisfaction all in their gigs. Maybe Circle hasn´t play Nopeuskuningas in all their gigs, but it has stayed in their live set almost twenty years). It is played quite the same way as in studio album "Sunrise", although the end of the song has more intensity than studio version. Then comes "Tulilintu" (=firebird) from "Tulikoira"album, it´s faster but other way quite the same. "Tuhat" is quite beautiful improvisation with Jussi singing nonsense. Next "Virsi" (=hymn) starts like Finnish hymns, but soon listener might think they are making parody of it, but I think they´re totally serious. After festive beginning song goes into very strange, uptempo trip. As far as I know they´ve never made studio version from this very weird song, but it is also in other live records from the same time. "Point" is probably version from their first e.p. song, but I´m not sure because never heard that e.p. The direction goes again to fast heavy. "Murheenkryyni" (=troublemaker) is early version from "Hollywood"-album song "Suddenly" with Mika singing something else. I like it as much as that Hollywood-song. Encore song "Kaappikellon Kummitus" is just a funny piece only keyboards and vocals. It´s quite amazing how audience can clap their hands totally out of beat and Mika still can stay in beat. Also I think Mika´s enthusiastic comments in Finnish have wondered the US audience. He says for example after gig "now let´s put the beer on the machine".

This live album is not Circle at their best but not also their worst. As usual, they play very well. Album is little bit poor way recorded, probably through the microphones on the stage because you can hear also audience talking specially in the silent places. But I like the sound of the album, it´s like they´re playing in my living room. Probably this album interest more punk music fans than proglisteners.

 Serpent by CIRCLE album cover Live, 2012
4.00 | 1 ratings

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Serpent
Circle Psychedelic/Space Rock

Review by Mortte

— First review of this album —
4 stars This live recording is one of the many live albums of Circle. It´s recorded from Croft club in Bristol. After 2000`s they`ve released almost as many live albums as studio recordings (I have wondered have they released all they have recorded). Albums have become in vinyls, cd:s and quite recently only a cassette releases. Recordings have made in a very strange circumstances: places (church, museum), in the connection of visual art shows, also one live performance is mixed in the studio and replaced live played instruments to synth effects (only cassette release "Hukkaamiskielto"). Circle has always played some of their studio material live, but mostly at least released live material is very much improvised. This album is great exception: all the songs are from studio albums, but naturally some of them has also improvisations in them.

"Lintu Joe" starts the album and is played quite the same as it was released a little later in "Manner"-album. Mika is singing something completely different as in studio version. Next "Vaellus" is also quite same kind as it is in "Rautatie"-album. But the tittle song of "Rautatie" has enlargened in fifteen minutes. After the middle uptempo period band starts to improvise something that sounds little bit southern rock. In the end improvisation changes really free jazz. After there has been silent period with a little noise and Mika´s nonsense talking, band continues the original song like they´ve never been anywhere else. Really great version! "Saturnus Reality" is much more faster than studio version in "Katapult"-album. It´s true black metal! "Lääke" reminds a studio version from "Rautatie". "Blue King" is also played really same way as in forthcoming "Manner" and the rest of the material is also from that album. "New Fantasy" is also as great as studio version, although Mika´s vocals are not as festive. The last Eno-cover "Here Comes the Warm Jets" is even better than their studio version. Unlike studio version, Mika´s singing nonsense.

This live album is highly recommended among the huge Circle live releases (they haven´t all added into progarchives discography). The recording quality is quite good. You can have quite good picture of Circle´s live magic from this record.

 Otra Dimensión by EKOS album cover Studio Album, 2017
4.27 | 72 ratings

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Otra Dimensión
Ekos Psychedelic/Space Rock

Review by Progmin

5 stars Since the firs time I heard this band, I became a fan. Their first album Luz interna brought to me a cascade of feelings, specially their super proggy track "Apocalipsis", makes me feel illuminated. But this new album Otra Dimensión is a very fresh surprise, the sound quality is very superior, very well produced, all instruments sounds perfect and equilibrated, I specially felt moved with the keyboards which are spacey, and very moving, some classical and new sounds surrounds you all the time. I also loved the guitar sound which combines perfectly, beautiful effects, sound and melodies. But the whole band sounds superb, the voices I also found very touching, and I haven´t yet make an analysis of the lyrics, but something there is very touching. I strongly recommend this album, doesn't matter if you can't understand spanish, it feels really good to hear!
 The Hidden Step by OZRIC TENTACLES album cover Studio Album, 2000
3.96 | 133 ratings

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The Hidden Step
Ozric Tentacles Psychedelic/Space Rock

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

4 stars For their ninth proper album, `The Hidden Step' would be a kind of final moment before the digital programming began to consume the sound of the Ozric Tentacles more fully, a direction that especially began to emerge on their superb previous album `Waterfall Cities'. If anything, `The Hidden Step' from 2000 took a step back again from being constantly dominated by the electronics, and in addition to their expected colourful psychedelic space-rock fused with ethnic sounds, it included ambient, new-age and even symphonic elements that had rarely been employed by the group on much of their previous discs.

Opener `Holohedron' is an instant showcase of founding Ozrics member Ed Wynne's wailing Joe Satriani-ish electric guitar tearing through trickles of rising/falling electronics, subtle pulsing bass and low-key programmed beats. The propulsive title- track `The Hidden Step' keeps up the momentum, Zia's rumbling relentless bass and Rad's skittering drumming racing behind a range of Seaweed's gurgling and contemplative electronics. But it's `Ashlandi Bol' that proves to be a real diversion for the band, a dramatic and ravishing Eastern-themed synth piece permeated with mystery, where a majestic symphonic theme twists and turns seductively as wisps of John Egan's flute twirl around and glissando guitar eerily cries from the ether before a frantic and fiery acoustic finale. `AraManu' is a low-key and drifting ambient piece that still offers strong musical themes with the lightest of delicate programming and carefully groaning electronics, the littlest of New Age traces to its dusty desert atmosphere and very subdued acoustic moments.

Side two's `Pixel Dream' instantly brings back the liveliness powered by bouncing hypnotic bass and snappy drumming, and there's real moments of happiness in the constantly joyous electric guitar bursts and lightly uplifting synth noodling before it breaks down into a funky electronic jam in the final moments. `Tight Spin' is a chill-out of cool slinking beats and the lightest of electric piano shimmers with fizzy effects that slowly grows into a dangerous and wild electronic meltdown with harder dance beats pounding behind deranged acoustic guitar shambling. The band then bravely closes on a final impossibly subtle ambient piece, `Ta Khut', mixing mellow and mystical synth caresses weaving throughout Middle Eastern/Gong `Shamal'-era meditative intrigue with woodwinds, chimes and placid acoustic guitars.

Rad and Zia left the group after this album, and the classic string of consistently great Ozrics albums somewhat ended here, despite all of their albums since holding terrific moments. But `The Hidden Step' boasted strong compositions, sleek production and cool playing, and it definitely helps that this one was a welcome single vinyl length meaning it stayed punchy and oddly focused for such an eclectic group. It offers some fascinating musical diversions that make this particular album from them stand out in their discography, and it's a fine send off to the departing drummer and bass player from the best era of the Ozric Tentacles.

Four and a half stars.

 Summer Sessions Vol 1-3 by CAUSA SUI album cover Boxset/Compilation, 2010
4.86 | 5 ratings

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Summer Sessions Vol 1-3
Causa Sui Psychedelic/Space Rock

Review by Igor91

5 stars Denmark's Causa Sui started out as a somewhat typical stoner rock band in the early 2000's, but came into their own with the release of the Summer Sessions. Following their second album, Free Ride, the band dropped their vocalist and changed direction in their sound. While they never completely lost their stoner rock roots, the band began to stretch out into new sonic territories for Volume 1. The album's opening track, "Visions of Summer," is my favorite piece from the band. It is a 24+ minute journey into an auditory summer paradise. Trippy Krautrock grooves, cool jazz guitar workouts, Kyuss worshiping riffage, Hendrix inspired guitar solos, and spacey atmospheric soundscapes float in and out, up and down. Stunning. The rest of Volume 1, as well as Volumes 2 and 3 continue to follow suit, which occasionally features stinging free-jazz saxophone blasts as well. The result is the best 3 album package of modern instrumental psychedelic rock in the past 10 years, at least. The Summer Sessions is when Causa Sui found its musical footing, and never looked back. If you dig this style of music you really should own the Summer Sessions - all three volumes. I consider this collection to be truly essential for lovers of all that is psychedelic. A solid 5 stars.
 Pewt'r Sessions 1-2 by CAUSA SUI album cover Boxset/Compilation, 2012
4.00 | 4 ratings

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Pewt'r Sessions 1-2
Causa Sui Psychedelic/Space Rock

Review by Igor91

4 stars Following the release of the three volume The Summer Sessions in 2008 and 2009, instrumental psychedelic/space rock band, Causa Sui, pushed the boundaries of their sound even further for the first two volumes of the Pewt'r Sessions. Originally released separately, and only on vinyl in 2011, the band released them both on CD in 2012 as a package deal. The band had clearly established itself as one of the premier psych bands in Europe with the release of the Summer Sessions, and now they found themselves stretching out even further into the cosmos with the Pewt'r Sessions. The album features long, tripped-out, musical adventures heavily influenced by the repetitive Krautrock styles of Can and Agitation Free. Jonas Munk's guitar is drenched in reverb and wah-wah petal resin, jamming over the band's way-out grooves. This is not music for the faint of heart, but it does grow on you if you have the patience to take it all in. It took a while, but once I "got it," there was no going back. If you are unfamiliar with the band, I would not recommend these albums to start with (try Europie Tide). That being said, Causa Sui's volumes 1 and 2 of the Pewt'r Sessions are prime examples of intense, modern psychedelic/space rock. 3.5 stars, rounded up to 4 after repeated listens.
 Euporie Tide by CAUSA SUI album cover Studio Album, 2013
4.10 | 49 ratings

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Euporie Tide
Causa Sui Psychedelic/Space Rock

Review by Igor91

5 stars If you consider yourself a psychedelic/space rock connoisseur, you need some Causa Sui in your music collection. While 2013's Europie Tide is not the band's best album, it is the best place to start. Now, that's not to say it's not great, because it is pure psychedelic greatness. The band's sound is a mixture of like-minded genres: late 60's to early 70's psychedelic rock, Krautrock, 90's stoner rock, post-rock, to name a few. On Europie Tide, Causa Sui's sound is more condensed and fine-tuned compared to much of what came before it, which is perfect for newcomers. There is a perfect balance of heavy, stoner rock riffage and gentle, spaced-out atmospheres here, and it never feels forced or contrived. Even though it's entirely instrumental, it holds your attention and keeps you captivated. If you find yourself liking this one, I suggest moving on to all three of their "Summer Sessions," for a full-on, sonic assault of their tripped-out awesomeness. Very highly recommended, 5 stars.
 Return To Sky by CAUSA SUI album cover Studio Album, 2016
3.57 | 14 ratings

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Return To Sky
Causa Sui Psychedelic/Space Rock

Review by Igor91

4 stars Denmark's excellent psychedelic rock band's 2016 release, Return To Sky, finds the band riffing harder than it has in a while. Causa Sui is slightly revisiting it's stoner rock beginnings here, but their spacey, atmospheric tendencies have not gone away, just taken the back seat a bit. Openers "Dust Meridian" and "The Source" feature plenty of Kyuss-worthy riffs balanced by some lighter moments. The album's closing track, "Return To Sky," is the lightest, more atmospheric piece on the album, and serves as a welcome release from the fuzzed-out fervor that precedes it. The album Return To Sky echoes some of the band's 2013 release, Europie Tide, more structured style, which makes it a good start for newcomers to the band. Not their best release, but a damn good record nonetheless. 4 stars.
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Psychedelic/Space Rock bands/artists list

Bands/Artists Country
3 LEAFS United States
35007 Netherlands
3RD EAR EXPERIENCE Multi-National
THE 4 LEVELS OF EXISTENCE Greece
ABUNAI! United States
ACID FLORIANI Russia
ACID MOTHERS TEMPLE Japan
AD'ABSURDUM Switzerland
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
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