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PSYCHEDELIC/SPACE ROCK

A Progressive Rock Sub-genre


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Psychedelic/Space Rock definition

Psychedelic Progressive Rock

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

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

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

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


Progressive Space Rock

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

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

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


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

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

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


A path that never ends

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

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


Psychedelic Rock / Space Rock team April 2010

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


Current Psychedelic/Space Rock Team Members
as at December 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 | 2843 ratings
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4.59 | 2995 ratings
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4.22 | 67 ratings
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4.10 | 125 ratings
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4.04 | 235 ratings
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4.03 | 270 ratings
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4.03 | 230 ratings
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4.14 | 85 ratings
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4.10 | 100 ratings
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4.01 | 220 ratings
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4.67 | 21 ratings
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4.04 | 154 ratings
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3.98 | 389 ratings
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4.00 | 254 ratings
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4.24 | 50 ratings
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3.97 | 323 ratings
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4.12 | 77 ratings
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4.00 | 175 ratings
I WASH MY SOUL IN THE STREAM OF INIFINITY
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4.06 | 99 ratings
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4.14 | 62 ratings
IMPRESSIONABLE SOUNDS OF THE SUBSONIC
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4.23 | 44 ratings
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4.15 | 58 ratings
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4.08 | 74 ratings
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4.05 | 90 ratings
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3.90 | 1404 ratings
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4.16 | 49 ratings
LIQUID
35007
3.96 | 175 ratings
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4.16 | 48 ratings
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4.24 | 37 ratings
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3.90 | 347 ratings
REMEMBER THE FUTURE
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3.96 | 128 ratings
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4.03 | 75 ratings
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4.02 | 80 ratings
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3.99 | 92 ratings
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3.91 | 246 ratings
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3.96 | 117 ratings
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4.01 | 76 ratings
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4.11 | 48 ratings
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4.08 | 50 ratings
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Igra Staklenih Perli
4.14 | 40 ratings
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3.85 | 1523 ratings
ATOM HEART MOTHER
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4.05 | 54 ratings
BURNING OFF IMPURITIES
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4.24 | 28 ratings
2009
Korai Öröm
3.89 | 165 ratings
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4.13 | 37 ratings
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3.88 | 214 ratings
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Amplifier
3.99 | 54 ratings
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4.04 | 43 ratings
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Ahora Mazda
4.31 | 20 ratings
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3.98 | 54 ratings
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Mantric Muse
3.84 | 189 ratings
(MANKIND) THE CRAFTY APE
Crippled Black Phoenix
3.87 | 123 ratings
RETURNING JESUS
No-Man
3.95 | 60 ratings
WITHOUT INTRODUCTION
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4.54 | 13 ratings
GLANCING MADLY BACKWARDS - RARE & UNRELEASED 1994-2004
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3.85 | 128 ratings
WATERFALL CITIES
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4.13 | 27 ratings
BLUE CATHEDRAL
Comets on Fire
3.84 | 126 ratings
LIGHTDARK
NoSound
3.81 | 223 ratings
OCEAN 2: THE ANSWER
Eloy
3.84 | 121 ratings
ESPECTRO
Violeta De Outono
3.86 | 99 ratings
SOL29
NoSound
3.83 | 145 ratings
DEEP POLITICS
Grails
4.25 | 18 ratings
LOST AND SO STRANGE IS MY MIND
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4.11 | 25 ratings
HÖGTID
Agusa
4.50 | 12 ratings
ELEPHANT MOON
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3.87 | 75 ratings
THE ECLECTIC MEASURE
Hypnos 69
3.87 | 73 ratings
SYMETRIA
Hidria Spacefolk
4.21 | 19 ratings
THE RESURRECTIONISTS
Crippled Black Phoenix
4.55 | 11 ratings
THREE
Space Debris
4.83 | 8 ratings
PSYCHO ERECTUS
Polytoxicomane Philharmonie
3.89 | 58 ratings
THE VIEWING POINT
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3.97 | 37 ratings
FOYERS OF THE FUTURE
Moonwagon
4.26 | 16 ratings
FREAKS
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3.81 | 117 ratings
JOURNEY OF THE SHAMAN
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4.43 | 12 ratings
TOBA TRANCE 1
Natas, Los
3.84 | 80 ratings
FRAMTIDEN AR ETT SVAVANDE SKEPP, FORANKRAT I FORNTIDEN
Algarnas Tradgard
3.84 | 76 ratings
MASTER SLEEPS
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3.87 | 61 ratings
TRI
My Sleeping Karma
4.06 | 25 ratings
PAIX
Alpes & Catherine Ribeiro
4.42 | 12 ratings
DEAD MEADOW
Dead Meadow
3.87 | 61 ratings
TIME ROBBER
Omega
3.85 | 71 ratings
200 YEARS AFTER THE LAST WAR
Omega
3.86 | 61 ratings
GALACTIC ZOO DOSSIER
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3.80 | 120 ratings
FLOWERMOUTH
No-Man

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Latest Psychedelic/Space Rock Music Reviews


 A Momentary Lapse Of Reason by PINK FLOYD album cover Studio Album, 1987
3.04 | 1161 ratings

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A Momentary Lapse Of Reason
Pink Floyd Psychedelic/Space Rock

Review by aglasshouse

4 stars To start off my new profile, I might as well review one of my favorite prog albums of all time.

When Roger Waters left PINK FLOYD after the dreadful sales of "The Final Cut", Mason and Gilmour were left on their own to produce the next album. During the writing of his 3rd solo album, Gilmour made the decision to actually make it under the PINK FLOYD name. Mason was back on the album, and Wright was brought in as a session musician (for the first time after Waters decided to fire the bloke). Other musicians, such as Carmin Appice, John Carin, and Bob Erzin (who was later known for helping with the production of the album itself) were all on the roster as additional musicians along with some other cool people.

A huge debate over this album is the fact that a "non original member" took over from Waters after he explosively quit the band. Many people say that Mason should have taken over the band, seeing as he was on the wagon from the first album. I think being on the second studio album till present is a spectacular feat, and I would assume that would make you an original member. However, some people disagree with this, and that's okay. It's all about perspective.

As for the musicianship used after Waters left, it's astounding. Sure, cheesy saxophone can increasingly repetitive as the album goes on, but I think Gilmour's fantastic guitar work makes up for that. The heavy guitar solos in such songs as 'On The Turning Away', 'One Slip', and 'Learning to Fly' make me forget all about the sax. As for good moments with the good old brass is in my favorite song, 'Dogs of War', featuring an amazing saxophone solo. True, the sound is slightly out-dated, and hasn't aged very well. With songs like 'Terminal Frost', where the chords might have fit better back in the 70s.

Another song I would like to tackle is 'A New Machine' Parts 1&2. Whilst alot people see this as blatant filler to make up for creative lax, I think of it as a great experimental track. I always loved that psychedelic, rippling sound in the music that gave it a tone of dreary and dark (except for the nice, strong vocals). Part 2 is less enjoyable, due to it's incredibly short duration compared to part 1. I would have rathered they do something like they did with 'Pigs on the Wing', and make it a whole song when combined together, not some small tidbit of what it could really be.

As for the cons, I don't really have much. As I stated before, the aging of this album is sort of stale and disappointing compared to other albums. My least favorite track has to be 'Signs of Life'. The droning and boring quality reminds me too much of the most likely inspired- from track 'Shine On You Crazy Diamond', which I dislike as well (I hope I don't get hated on for that). It is definitely a weak opener.

Overall, I feel that many people jump on the bandwagon for hating this album instead of listening to it with an open mind, which I encourage you to do with full certainty. You might find yourself liking it.

 Last Autumn's Dream  by JADE WARRIOR album cover Studio Album, 1972
3.52 | 84 ratings

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Last Autumn's Dream
Jade Warrior Psychedelic/Space Rock

Review by FragileKings

3 stars Jade Warrior was one of those names I stumbled across while leafing through the annals of progressive rock. As I understand, they married far eastern musical sounds with western rock, and their first album solidly established what they were about. The second album did not come off so well, but their third album, "Last Autumn's Dream" managed to come close to their debut, possibly surpassing it depending on whom you ask. This I gathered from the Wiki article and some of the reviews here.

Taking a chance, I ordered the third album without much prior inspection of the music. "A Winter's Tale" sounds quite typical of the day with lots of la-la-las and an English view of a warm fire in the fireplace. There is a kind of Japanese feel to some of the guitar which doesn't sound forced or intrusive. Interesting that they chose to start the album with a laid back song that is one of only three to clear five minutes.

Beginning with a wild guitar solo, "Snake" sounds more exciting with its heavy fuzz-toned, sidewinder bass line. I can picture a viper swishing its coils left and right across the sand. The heavy sound makes Jade Warrior sound closer to proto-metal at times. The music switches style and atmosphere near the end, and there's an eerie flute contribution, but this interesting turn in the music serves only as an outro. Too bad they didn't develop it further. In a way it reminds me a little of "Famine" on the Opeth album "Heritage" except that the Opeth song is one of my favourite Opeth songs and this one here is just kind of interesting. Needs more work.

"Dark River" is where the far eastern influence really starts to show with a flute solo that conjures up images of ninja running stealthily along a river bank at night. The entrancing drumming reminds me of Ron Bushy's solo on Iron Butterfly's "In-a-Gadda-da-Vida". A plunky guitar takes over while the suspenseful flute continues, and then once more the guitar and drums trade places. This certainly is an atmosphere-establishing piece that seems to marry a Japanese ninja movie soundtrack with an Iron Butterfly-influenced tribal drumming rhythm.

"Joanne" seems to be a typical rock number that might have emerged from the southern States somewhere. "Joanne, we're gonna get loaded / Joanne, know what I mean." I can't say the lyrics are particularly good. I might be thrilled about the wild heavy psych guitar solo if this was 1969 but as it is there's not much to praise except that it might be the best part of the song.

"Obedience" has my attention with some traditional Japanese percussion backing more fuzz-toned guitar. This sounds like another piece of music that could have been part of something bigger and grander. A jangling, chiming guitar sound joins along with some warm background instrumentation. And then all fades out. Why didn't they take this further and turn into some wonderful instrumental epic?

The Japanese-sounding guitar plucks over an gentle guitar while flute plays soft notes for "Morning Hymn". This is a gentle number for the awakening sleepy head and the glow of sunbeams across flower blossoms. Not particularly exciting but this is where the band sound like they are on to something different from their peers.

There's more traditional-sounding Japanese percussion and some almost down-home groovy guitar before one guitar introduces a Byrds-like riff. The music then goes back to a laid back groove as the vocals tell us about the "May Queen". The flute creeps in like ripples around a stone. Then we get more of the psychedelic guitar. This is a song that you might find either rather interesting or, if you don't like the scratchy guitar, a bit of a sore spot. They get points for the honest effort at blending styles. Perhaps if they'd kept this up they might have really nailed it on a fourth or fifth album of this line-up.

And the we get a drum intro that sounds like it inspired Nazareth's "Hair of the Dog" while Mungo Jerry's cousin comes in with a typical seventies banana-munching beat. I can just see the big furry sideburns. "Demon Trucker"? With this one and "Joanne" it's hard to tell if these guys were really all that serious about being progressive. Perhaps they still wanted the rock crowd-pleasing tunes to offset the mellow, eastern-flavoured tunes.

"Lady of the Lake" and "Borne to the Solar Wind" take us out with those Japanese-inspired musical stylings. These slower parts with gentle electric guitar, traditional percussion, and flute are for me the most enjoyable parts of the album. I don't know why they split the music into two tracks because "Borne to the Solar Wind" is essentially an instrumental continuation of the music of "Lady of the Lake".

Each time I listen to this album I feel like this is either a band in transition or a band who was trying to cross psychedelic music with eastern-inspired mellow electric rock but still hadn't found the exact formula. For the most part I think the tracks have a lot of good aspects but I am left with the feeling that more effort should have been made toward creating something really memorable. Jade Warrior are too timid about utilizing their uniqueness to its full potential. I am curious now if I shouldn't look at their later albums when Jade Warrior was writing world music or their debut which might have better captured their initial intent. Based on the reviews, it would appear that the band went more for the world music feel that they did quite well here on "Last Autumn's Dream" and dropped the psychedelic space rock sound. They really could have pulled it off nicely, marrying the two styles, with a bit more adventurousness.

I hesitate to call it "good but not essential" but it's better than "Collectors/fans" only. Perhaps a 2.5 star rating of "it has potential" would be more accurate. So, rounded up to three stars then.

 Sonic.Noise.Opera (with Nik Turner) by SPACE INVADERS album cover Live, 2014
4.00 | 1 ratings

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Sonic.Noise.Opera (with Nik Turner)
Space Invaders Psychedelic/Space Rock

Review by Rivertree
Special Collaborator Psych/Space Team & Band Submissions

— First review of this album —
4 stars ... You Only Have A Few Seconds To Escape ...

Given that Nik Turner is with the SPACE INVADERS for this live gig at the Psychedelic Network Festival, they are playing songs pretty much in a Hawkwind vein on this occasion. Born in 1940, Nik just is a space rock enfant terrible, has been a member of this genre flagship for about 10 years in total, amongst uncounted other collaborations - still being able to make a lasting impression with his vocals as well as wind instruments, as there are flute and sax. What the album provides is more than 60 minutes of totally improvised stuff. A special snapshot which certainly - due to Nik's collaboration - must have been a honour to celebrate for all the regular invaders

Here we go ....DO NOT PANIC! ... with Sonic Attack they offer an incredible speech offensive as for the startup, properly supported by Tipi Mike's talk box. You only have a few seconds to escape ... since the invasion ultimately takes its course! Powered by Paul Pott's punchy bass the following short band introduction shows some typical hawkwindish punk attitude and ends with a nervous breakdown. Now on Spicy Spiders WELTRAUM fellow Dennis Gockel applies his wellknown driving drum work for the first time, a mellow groovy jam where Nik is soloing a lot with flute and sax.

Couldn't define a better song title - Drum'n'Space shines with a distinctive LTJ Bukem alike bass line. And for the extended finale initiating with Stardust Part 1 the band reaches full potential. The musician's interaction is great. ELECTRIC ORANGE leaders Dirk Jan Müller and Dirk Bittner in cooperation with Tipi Mike are responsible for the complete spectrum of spacey guitar and synth accessoires in general. For example I adore the pathetic opera string patterns which are opening Can you and especially the transition back into the second part of Stardust - very very inspired!

 Psychedelic Teatime by MARGIN album cover Studio Album, 2014
3.23 | 9 ratings

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Psychedelic Teatime
Margin Psychedelic/Space Rock

Review by tszirmay
Special Collaborator Crossover Team

4 stars Margin main-man and Berliner Lutz Meinert had kindly sent me a request to review his 'Psychedelic Teatime' album, and after having read some of the posted reviews, I accepted willfully. The general consensus was that the music was fine if not ground-breaking and that the vocals were closer to Pet Shop Boys' Neil Tennant which may throw the casual prog fan for a loop. Well, Pink Floyd-influenced prog is never quite that challenging as the Gilmour Boys (sorry Roger but I never liked you a whole lot) are not the most 'turn-on-a- dime' weavers of progressive complexity, preferring a laid-back and atmospheric style that is closer to the turtle than the rabbit. That being said, there is nothing inherently wrong in having a voice that may hint at Tennant's tone, neither poor nor thundering but surely effective. Prog is not exactly the paragon of lead vocal heaven, with a vast array of groups that made amazing music with weak singing.

So let's take the opportunity to look at Margin's work at face value and judge according to its inherent merits instead of what it could have, should have been. The very first observation is the pristine sound, something Berlin has always been rather famous for within and beyond the prog universe, it hits you right from the very first relaxed notes of the 5 part suite "A Mysterious Cup of Tea", a sweeping epic example of psychedelic space rock of the highest order. The opening Part1 is all instrumental luxury and showcases one-man band Lutz Meinert's talents on all matter of instruments, especially the liquid guitar parts, the flamboyant acoustic versions as well, utilizing various keys with delectable delight , the languishing organ sweeping forward nicely and particularly crisp piano parts that give the sound a sublime sheen. It must be noted that the bass work all along is absolutely first rate, as well as the terrific drumming throughout. Hints at Swedish proggers Grand Stand come to mind, though in more space rock vein. Part 2 introduces Meinert's playful voice, actually closer to Xavier Phideaux (yes, good call Johnny!), Gong's Daevid Allen or even Ian Broudie of the Lightning Seeds. But it's all in the details, as the melody is enticingly soporific as the words 'A saucerful of secrets' are uttered with little guile, delicate vibraphone over ornate acoustic guitar and pastoral flute, this is world class stuff. Floydian organ (sounding like a Farfisa) seeps through the haze leading into the marvellous nearly 7 minute Part 3, where the electric piano, a punchy bass and jazzy hyper electric guitar meet in harmony, almost like a spacy version of Stealy Dan, held together by some stunning drum fills, hey, mensch, this guy can play! Moody expanse for an enchanting and LONG fretless bass solo that will knock your Pastorius head off. This is one of many highlight moments that I needed to re- listen often as I just could not believe my ears. My kind of space rock, all in all luxuriant, defiant and inspirational, conducive to the loftiest dream cycles possible. Again, the instrumental playing is technically superb and emotionally spot on. Part 4 is a brief vocal reprise of Part 2 and as such, plays well into the epic formula of returning themes and melodies. Hey, there is nothing wrong with his voice, slightly accented perhaps. Ja, und? Part 5 introduce a rifling organ and potent drum rolls that resonate lovingly, slashed by a Hackett-ish guitar and a colossal symphonic bombast. An entirely convincing piece, once again underpinned by some rock-solid bass playing. Medicating, lush and adventurous, this is definitely a voluptuous ride into the cosmos.

Things really point towards the Gong pot head pixies with the short version of the "Psychedelic Underground" , a remarkably catchy hook that you swear you have heard before, propelled by a reptilian bass, snake guitar phrasings and a charming voice , slightly accented that has that Pet Shop Boys tone, no doubt as well as that Ian Broudie-like candied trippyness. "OOOOH, what a trip!" is how this lil ditty ends. The longer version will seal the fate of this album later.

But next up is the more complex bardic tale of "Landscapes on the Sky" which really revive the Allen-Smyth vocal duet of Gong fame, fueled by a trilling organ, utterly pastoral trappings and thus oh so charming, visions of coming and going kingdoms in some celestial expanse. The elongated theme is melodically supreme, effortless and atmospheric, taking its sweet time for maximum effect. This is psychedelia after all, no time for editing and taking shortcuts. The mushroom mellotron clouds and seductive mandolin finale is simply spectacular and vivid.

The highly evocative stud bass guitar grabs the leather leash, pulling a sorceress piano along, a perfect example of simple doom and gloom in the most minimalist fashion, morphing into a heavier torrent, guitars slashing and the basso profundo bullying forward, this time the mellotron in tow. Sorry, guys, this is killer stuff, so full of self-possessed power and haunting imagery. The 10 minute+ "Last Exit to Pluto" is a space prog classic, lovingly crucifying any Ozric Tentacles or Gong fan, armed with a chirping organ solo spot that again hints at jazz-rock tendencies. But it's that devilish 4 string monster that gets my blood boiling and perspiration on the upper lip area. A deliberate guitar solo screeches and moans, fluttering from one emotion to the next, early King Crimson-like mellotron cascading in and out of the cadence (pun?). Ga ga ga!

You liked the short version, well here is the longer one! A 10 minute+ version of "Psychedelic Underground" is given a quasi Hawkwind treatment, a lively 'good vibrations' cosmic voyage where the bass shuffles , the drums attack and has a red rooster guitar pecking away at the mad hatter. This is toxically addictive, humming this as the dominating bass just goes cuckoo and the drum shudders insanely amid the mellotron washes. Damn fine music, this! It is a rare event in prog when a 10 minute tune can be so accessible and memorable, seared on your brain all day as you hum "Psychedelic Underground", big smile on your face.

Funny this as the instrumental parts are definitely Space and the vocal ones clearly Neo- prog , but who the hell cares when music is this accomplished and pleasurable , the labels can all vanish in the blink of an eye. A big surprise that really rocked my world. But when the fetish bass entices, teases and satisfies, I will always be a slave to your pleasure. Wirklich ausgezeichnet!

4.5 Flying Tea Pots

 Yes, We Are A Jazzband by IXTHULUH album cover Studio Album, 1976
2.62 | 5 ratings

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Yes, We Are A Jazzband
Ixthuluh Psychedelic/Space Rock

Review by apps79
Special Collaborator Neo Prog Team

3 stars An Austrian band playing in a Kraut-oriented style.Formed in 1975 in Amstetten they were led by Dita Lasser on guitars/vocals, James Geiblinger on bass, Max Wedl on saxophone and Michael Brandstetter on drums, but the Ixthuluh name, derived from H.P. Lovecraft's ''The call of Cthuluh'', appeared only around April 1976, after the members used Konglomerat, Stoerfaktor and Farmer as alternative options.Recordings from the band's early days (late 75'-early 77') were saved, remastered and offered for free in 2005 on the band's official website as a digital download under the title ''Yes, we are a jazzband''.

The presented material clocks at around 80 minutes and propably comes from one-shot studio rehearsals, as the sounds has this live feeling, but the quality is quite decent.The long tracks are good examples of instrumental Kraut-Jazz Rock in the vein of KRAAN with some ethnic and plenty of psychedelic passages, fairly based on the JOHANNES PAPPERT-like show of saxophonist Max Wedl and the rough, jazzy guitar scratches of Dita Lasser.Nothing to get excited about, but these pieces are typical of the Kraut Rock scene, featuring impressive improvisations, great guitar and sax battles and interesting solos over hypnotic, psychedelic grooves.If you like KRAAN's productions circa 1970-75, you will love Ixthuluh's jazzy executions.Inbetween these extended performances there are several pieces in a more Psychedelic Rock style, some of them feature vocals and the sax is generally absent for a rockier and edgier style.Again the recordings are pretty cool with some jazzy and bluesy influences in the guitar workouts and most of them are driven by sharp lead guitars and frenetic solos, which lack personality, but are performed nonetheless with passion.

Nothing better than discover a free download connected to the 70's and the old-school Kraut principles.KRAAN, KOLLEKTIV and OUT OF FOCUS are good comparisons for Ixthuluh's ''Yes, we are a jazzband'', jazzy and psych leanings around a rhythmic, Kraut-styled enviroment.

 Live Ballroom Ritual by GOAT album cover Live, 2013
3.55 | 5 ratings

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Live Ballroom Ritual
Goat Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars As exciting as the debut Goat album was ("World Music", 2012), it gave little indication of the spectacle the band presents on stage. Music aside, the sartorial splendor of their concert attire alone is something to behold, resembling an explosion in a counterculture fabric and costume factory. The colorful masks and robes might only be a canny (I almost wrote 'corny') promotional gimmick. But they work to focus attention on the ensemble playing and foster a symbiotic alliance with the audience.

The real enigma behind the masquerade is the actual size of the tribe itself. The flimsy cardboard CD case (perhaps designed in homage to the cut-and-paste artwork of Klaus Dinger) shows two guitarists; a bass player; one drummer plus a separate conga player; and a pair of sultry odalisques from the perfumed harem of a Middle Eastern sultan. So who's playing the saxophone, in the song "Let It Bleed"? The instrument appears out of nowhere, interrupting another monster funkadelic jam with a sudden frenzy of Free Jazz noise, while the twin nymphs shout the song's title like a life-or-death incantation, until their voices are hoarse. A quintessential Goat moment, in other words...

This is a group with something for (almost) everyone. Krautrockers will feel at home with the power chords of the concert opener "Diarabi" (originally a sub-Saharan folk melody), and the imposing one-chord monolith named "Det Som Aldrig Forandas...etc." Party animals will appreciate the uninhibited revelry of "Golden Door" and "Disco Fever" (catch it, and die happy). Connoisseurs of heavy-duty Funk Rock will thrill to the elemental grooves of "Let It Bleed" and "Run to Your Mama". And rebellious star-children born under the sign of Capricorn will embrace the songs "Goathead", Goatman", "Goatlord", and "Stonegoat".

More than just a live album, the disc is also an omnibus collection of everything the band had recorded to date: the entire "World Music" album; plus non-album singles and B-sides, including the mini-epic Space Rock mantra "The Sun The Moon", their first recorded song and a killer encore to an already lethally attractive show. And the performances don't simply regurgitate the studio material: most of the songs have been extended for maximum visceral impact, an important consideration with two barefoot pagan goddesses gyrating and jumping all over the stage.

It would be wrong to say the album is the next best thing to being there. In concert Goat is more alive than most live bands, and without the visual cues this live companion album is only a two- dimensional facsimile of a typically eye-catching, toe-tapping, mind-frying Goat gig. But it still manages to capture the all-consuming, psychedelic Mardi Gras spirit of the event: not a concert but "a harvesting of souls", in the band's own mock-portentous vernacular. So until the herd arrives in your hometown the old cliché will have to stand: the album is the next best thing to being there.

 Högtid by AGUSA album cover Studio Album, 2014
4.10 | 24 ratings

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Högtid
Agusa Psychedelic/Space Rock

Review by rdtprog
Collaborator Heavy Prog Team

4 stars If you enjoy Retro Prog with some psychedelic rock and Krautrock influences, this is an impressive output from this Swedish band. Mostly instrumental, the music is a display of swirling Hammond organ and ragged guitar riffs that takes you back to the 70's. Despite the longish songs, the melodic themes are running throughout the experimental and spacey excursions with a nice flow. The organ and guitars interplay is what the emphasis is on the album, but on the song "Stigen Genom Skogen", the drums gets their chance to build a momentum to follow the frenzy organ pace while the guitars take a first break before come back screaming at the end. If this album has some progressive rock structures, the guitars and organ soloing is definitely psychedelic. But everything fits so well that you don't get lost in the music searching for a melody. There's only 3 minutes of what seems like a bit of muddling passages at the beginning of the song "Östan om Sol, Västan om Måne", and where you can start wondering if the band is losing focus, but it was intended to create a interlude of stranger atmosphere before getting back to the flow of the music. Recommended!
 Animals by PINK FLOYD album cover Studio Album, 1977
4.52 | 2513 ratings

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Animals
Pink Floyd Psychedelic/Space Rock

Review by progpig66 (arnold)

5 stars How started my love for progressive rock? On a rainy day in 1977 I bought Animals by Pink Floyd. It changed my life. How I loved this story of Dog, Sheep and of course PIGS! I I was deeply impressed by the inventiveness of the music and the brilliance of the lyrics. Four fantastic musicians telling us the truth about humanity. Listened the album over and over again, devoured the lyrics, went to the record shop and spent my pocket money on many more Pink Floyd LP's.

This is my all time number one progressive rock album and it aroused my love for progressive rock for always!

progpig66

 World Music by GOAT album cover Studio Album, 2012
4.05 | 12 ratings

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World Music
Goat Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars I am a Goathead.

I admit that (if you'll pardon the choice of words) a little sheepishly, as an introverted ex-garage band drummer with two left feet who recently fell, after only a slight nudge from a Fellow Traveler in these Archives, under the spell of this young Scandinavian ensemble. Hardly surprising, given the colorful mystique the band has created for themselves, extending beyond the music itself toward some sort of arcane ethno-spiritual connection with the inner experience of communal song and syncopation.

Like THE RESIDENTS, the Goat collective understands the attraction of myth and mystery. You'll notice a lack of individual credits here, because the band insists on masking its shared identity...literally, using homemade masks and gaudy costumes. Even the total number of musicians is a dark secret, with (maybe) four employed in the studio but seven (or more) on stage. "All the members of Goat will never be seen together", says a spokesperson for the herd, adding a lot of portentous mumbo-jumbo about the past lives of the band in earlier generations.

So where does that leave the music? Their debut album is eclectic in design but totally uniform in quality, despite being released on vinyl in a rainbow of editions matching the kaleidoscope of influences behind it: Krautrock psychedelia; "Maggot Brain" Funkadelic grooves; Talking Heads intelligent dance circa "Remain in Light"; Scandinavian Black Metal; and the Beach Boys (the last two in their own words: personally I don't hear it). The female vocalist(s) tend to shout in exuberance instead of actually sing, but it's all part of the ongoing Dionysian frenzy of funked-out rhythms and freaked-out guitars.

The band may hail from Sweden, but are travelers on every continent: northern Europe, central Africa, creole America. Their backwoods hometown, supposedly a nexus of ancient voodoo sacrament and early Christian witch-hunts, is located above the Arctic Circle less than 30-kilometers from the border of Finland, which may explain the slight edge of insanity. Don't be surprised to hear a wild, Hendrix-inspired guitar solo give way to a gently unplugged acoustic coda. Or a heavy Space Rock adaptation of a Boubacar Traoré folk song. Or the sort of one-chord raga power jam not heard since the heyday of AMON DÜÜL II and AGITATION FREE, forty years earlier.

More than simply energetic, the album is celebratory. This is music ideally suited to forbidden rituals in dark forest glens: the perfect diversion for extroverted pagans. Which, of course, makes it very appealing to a flat-footed, freethinking wallflower like yours truly.

Look for the ceremony to continue with a new studio album, due next month as of this posting.

 Soul Travels by FONYA album cover Studio Album, 1993
3.09 | 4 ratings

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Soul Travels
Fonya Psychedelic/Space Rock

Review by apps79
Special Collaborator Neo Prog Team

3 stars At this early point of Chris Fournier's career his life as a student and as a musician seem to walk on parallel ways.That's because during the second year of his stint at the University of Maine he decided to record a second effort under the moniker of Fonya.At the end of the day, he had the warm support from the Kinesis offices and the result was his second CD ''Soul travels'', released in 1993.

''Soul travels'' continues from where Fournier's first album stopped, his music explores the sound of keyboards and electronics with strong doses of guitars, but this time it sounds a bit more Prog-oriented in classic terms, even if it remains very spacious and synth-based.Several tracks on the album have a discreet Neo Prog feel and heavy orientations towards the vintage stylings of YES or E.L.P., containing some complex twists with occasional, tricky bass exercises and lots of symphonic references on synthesizer and organ.This does not mean that ''Soul travels'' comes pretty close to the standard prog principles, because the music still relies too much on synthetic echoes and electronic tunes, as established by groups such as OZRIC TENTACLES or CLEARLIGHT way back to the 70's.Moreover, this album sounds much less haunting than the debut, it contains even some happy tunes and the dreamy soundscapes are numerous.Fournier's work on instrumental execution, production and mixing is impressive.Even if the drum programming reveals the album's one-man background, the arrangements are extremely tight soundwise.The breaks into guitar world add the album some well-needed depth and the tracks become more balanced and, thus, more rewarding.Dreamy melodies and keyboard workouts are all over the place for a trippier approach into the Prog Rock planet.

Nice discovery, very 90's-sounding, but offering a great number of charming tunes and spacey landscapes, not to mention the fair dose of Classic Prog orientations.This period product comes warmly recommended.

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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
THE AMORPHOUS ANDROGYNOUS United Kingdom
AMPACITY Poland
AMPLIFIER United Kingdom
ANALOGY Italy
ANGEL'IN HEAVY SYRUP Japan
ANNOT RHÜL Norway
ANONIMA SOUND LTD. Italy
ANTA United Kingdom
ANTLERS United States
DADDY ANTOGNA Y LOS DE HELIO Argentina
ANUBIAN LIGHTS United States
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
ASTRALIA Italy
ATAVISM OF TWILIGHT United States
ATAXIA United States
ATHENE NOCTUA Italy
ATLETA Spain
ATOMIC SIMAO Ukraine
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
BARDO POND United States
BARN OWL United States
BARRETT ELMORE Sweden
MASAKI BATOH Japan
BËIRUTH Spain
BEYOND-O-MATIC United States
BLACK BOMBAIM Portugal
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
DAVE BROCK United Kingdom
BROTHERHOOD OF THE MACHINE United Kingdom
ARTHUR BROWN'S KINGDOM COME United Kingdom
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
CENTRIC JONES United States
LES CHAMPIGNONS Canada
CHARLIE & ESDOR Sweden
CHICKENCAGE EXPERIENCE Germany
CHILLIWACK Canada
CHIMERA United Kingdom
CHROMA KEY United States
CIRCLE Finland
CIRCUS 2000 Italy
COBALT BLUE Brazil
COCK C'NELL Japan
COLD SUN United States
COLORSTAR Hungary
COLSTER Italy
COMA STEREO Slovenia
COMETS ON FIRE United States
LA COMPAGNIA DIGITALE Italy
LAS COSAS Argentina
THE COSMIC DEAD United Kingdom
COSMIC TRIP MACHINE Belgium
COSMOS FACTORY Japan
CRANIUM PIE United Kingdom
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
DEIGEN Japan
EL DIABLO Mexico
DOMO Spain
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
THE EARLIES Multi-National
EARTHLESS United States
EARTHLING SOCIETY United Kingdom
EASTERN SYNDROME Russia
EATING.SEATS Italy
EDEN ROSE France
EGO ON THE ROCKS Germany
THE EGOCENTRICS Romania
EGYPTIAN KINGS Portugal
EIDETIC SEEING United States
EKOS Mexico
EKTROVERDE Finland
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
ESCAPADE United States
ETER-K Peru
ETERNAL TAPESTRY United States
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
FRAKTAL Argentina
FROGGIE BEAVER United States
FROLIC FROTH Mexico
FROZEN GEESE United Kingdom
FUNGAL ABYSS United States
THE FUTURE KINGS OF ENGLAND United Kingdom
GALACTICKA Finland
GALÁPAGOS Argentina
GALAXY Switzerland
THE GATE TO ALPHA CENTAURI United Kingdom
GDEVA Russia
GHOST Japan
THE GIANT HOGWEED ORCHESTRA Finland
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
HANADENSHA Japan
HANDLINGNOISE Finland
HASH JAR TEMPO Multi-National
HAUNTED LEATHER United States
HAWKWIND United Kingdom
THE HEADS United Kingdom
HEAVY WATER EXPERIMENTS United States
DASHIELL HEDAYATT France
HELLBENDER United States
HEPTAGRAM Bulgaria
HERE & NOW United Kingdom
HERU AVENGER United States
HIDRIA SPACEFOLK Finland
HIGH DEPENDENCY UNIT New Zealand
HILLS Sweden
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
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
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
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
KARMA CANON United States
KARMIC SOCIETY Germany
KARUNA KHYAL Japan
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
KIRUNA Norway
KLAR Czech Republic
KNALL Germany
PASI KOIVU Finland
KORAI ÖRÖM Hungary
ERKIN KORAY Turkey
KOSMOS Canada
KOUSOKUYA Japan
KOZMIC MUFFIN Spain
KREL United Kingdom
KROM LEK United Kingdom
KUNI KAWACHI TO KARE NO TOMODACHI Japan
KVASAR Spain
LA OTRACINA United States
LAGHONIA Peru
LANDING United States
LANDS END United States
LAVA Sweden
LEGENDARY PINK DOTS United Kingdom
LEMMUS LEMMUS Israel
LEMONADE INFLUENCE Greece
SELIM LEMOUCHI AND HIS ENEMIES Netherlands
LENIN Argentina
LENINGRAD BLUES MACHINE Japan
LES RALLIZES DENUDES Japan
LIQUID SOUND COMPANY United States
LIQUID VISIONS Germany
LITMUS United Kingdom
LOCH NESS Mexico
LONDON UNDERGROUND Italy
THE LONGEST DAY Australia
LOOP United Kingdom
LOVE LIVE LIFE + ONE Japan
LÜGER Spain
LUMERIANS United States
LUNAR DUNES United Kingdom
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
THE MANDRAKE MEMORIAL United States
MANTA RAY Spain
MANTRIC MUSE Denmark
MAPPE NOOTICHE Italy
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
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
MOTHER GONG United Kingdom
MOTHER OF FIRE United States
MOTHER-UNIT Netherlands
MOTHERSHIP United States
MOTHERSHIP ORACLE United Kingdom
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
NAAM United States
NAKED ELF United States
NANGYALA Netherlands
NAPATISTA United States
THE NARCOTIC DAFFODILS Belgium
LOS NATAS Argentina
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