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PSYCHEDELIC/SPACE ROCK

A Progressive Rock Sub-genre


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Psychedelic/Space Rock definition

Psychedelic Progressive Rock

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

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

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

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


Progressive Space Rock

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

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

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


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

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

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


A path that never ends

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

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


Psychedelic Rock / Space Rock team April 2010

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



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



Psychedelic/Space Rock Top Albums


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

4.62 | 3466 ratings
WISH YOU WERE HERE
Pink Floyd
4.60 | 3647 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 3082 ratings
ANIMALS
Pink Floyd
4.31 | 2601 ratings
MEDDLE
Pink Floyd
4.21 | 852 ratings
OCEAN
Eloy
4.14 | 321 ratings
RITUAL
Nemrud
4.11 | 545 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.12 | 368 ratings
JURASSIC SHIFT
Ozric Tentacles
4.20 | 141 ratings
BY THE WATERS OF TOMORROW
Vespero
4.40 | 56 ratings
OBSOLETE
Hedayatt, Dashiell
4.06 | 2489 ratings
THE WALL
Pink Floyd
4.11 | 261 ratings
LEGACY
Hypnos 69
4.12 | 222 ratings
TOGETHER WE'RE STRANGER
No-Man
4.06 | 466 ratings
A TAB IN THE OCEAN
Nektar
4.16 | 127 ratings
KINGSTON WALL II
Kingston Wall
4.19 | 91 ratings
TAKO
Tako
4.06 | 258 ratings
EVERYONE INTO POSITION
Oceansize
4.03 | 501 ratings
DAWN
Eloy
4.14 | 116 ratings
THE FUTURE KINGS OF ENGLAND
Future Kings Of England, The
4.03 | 424 ratings
THE OCTOPUS
Amplifier
4.02 | 516 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy
4.16 | 94 ratings
PARALLEL WORLD
Far East Family Band
4.03 | 262 ratings
EFFLORESCE
Oceansize
4.24 | 59 ratings
NEMRUD
Nemrud
4.03 | 279 ratings
FRAMES
Oceansize
4.16 | 84 ratings
O 'A' E O 'Z'
Mutantes, Os
4.03 | 256 ratings
ERPLAND
Ozric Tentacles
4.00 | 404 ratings
THE BLACK CHORD
Astra
4.00 | 385 ratings
PLANETS
Eloy
4.05 | 169 ratings
I WASH MY SOUL IN THE STREAM OF INIFINITY
My Brother The Wind
4.14 | 81 ratings
SURPASSING ALL KINGS
Vespero
4.20 | 59 ratings
LIQUID
35007
4.32 | 38 ratings
FORCE MAJEURE
Solar Project
4.07 | 107 ratings
ESPECTRO
Violeta De Outono
4.26 | 44 ratings
MANTRIC MUSE
Mantric Muse
3.96 | 380 ratings
HALL OF THE MOUNTAIN GRILL
Hawkwind
4.07 | 100 ratings
JOURNEY
Brown's Kingdom Come, Arthur
4.01 | 163 ratings
DEAD AIR FOR RADIOS
Chroma Key
4.08 | 87 ratings
TRI-LOGY
Kingston Wall
4.07 | 89 ratings
LIZARDS EXIST
Lizards Exist
4.65 | 19 ratings
PSYCHO ERECTUS
Polytoxicomane Philharmonie
4.06 | 87 ratings
TUDO FOI FEITO PELO SOL
Mutantes, Os
4.39 | 28 ratings
ŘRESUND SPACE COLLECTIVE
Řresund Space Collective
4.14 | 54 ratings
THE BLACK TOMATO
Řresund Space Collective
3.96 | 208 ratings
LEVITATION
Hawkwind
4.13 | 56 ratings
IMPRESSIONABLE SOUNDS OF THE SUBSONIC
First Band From Outer Space
4.12 | 57 ratings
IGRA STAKLENIH PERLI
Igra Staklenih Perli
4.16 | 49 ratings
U VRECI ZA SPAVANJE
Tako
4.13 | 54 ratings
BURNING OFF IMPURITIES
Grails
4.02 | 87 ratings
LEVIATHAN
Annot Rhül
3.88 | 1673 ratings
THE PIPER AT THE GATES OF DAWN
Pink Floyd
4.10 | 57 ratings
TRIP TO INNERSELF
Siddhartha
4.00 | 95 ratings
BRIDGES OF KUKURIKU
Quantum Fantay
3.87 | 1858 ratings
ATOM HEART MOTHER
Pink Floyd
4.24 | 33 ratings
THE RESURRECTIONISTS
Crippled Black Phoenix
3.93 | 186 ratings
(MANKIND) THE CRAFTY APE
Crippled Black Phoenix
3.95 | 143 ratings
CURIOUS CORN
Ozric Tentacles
4.34 | 26 ratings
HAVE COME FOR YOUR CHILDREN
I.E.M.
3.96 | 125 ratings
THE HIDDEN STEP
Ozric Tentacles
4.10 | 50 ratings
AHORA MAZDA
Ahora Mazda
3.98 | 97 ratings
SYMBIOSIS
Hidria Spacefolk
3.99 | 92 ratings
SUBKRAUT: U-BOATS WILLKOMMEN HIER
Vespero
3.90 | 266 ratings
THE WEIRDING
Astra
3.88 | 392 ratings
REMEMBER THE FUTURE
Nektar
3.97 | 106 ratings
HÖGTID
Agusa
4.19 | 35 ratings
FANTASTIC FREAK SHOW CARNIVAL
KingBathmat
4.18 | 36 ratings
MORE EXOTIC WAYS TO DIE
Parallel or 90 Degrees
3.92 | 166 ratings
TECHNICIANS OF THE SACRED
Ozric Tentacles
3.91 | 178 ratings
ARBORESCENCE
Ozric Tentacles
3.91 | 189 ratings
STRANGEITUDE
Ozric Tentacles
4.02 | 66 ratings
TIME ROBBER
Omega
4.02 | 62 ratings
WITHOUT INTRODUCTION
Polyphony
3.92 | 128 ratings
JOURNEY OF THE SHAMAN
Nemrud
3.96 | 89 ratings
UGISIUNSI
Quantum Fantay
3.97 | 87 ratings
LONG DISTANCE TRIP
Samsara Blues Experiment
3.92 | 130 ratings
FLOWERMOUTH
No-Man
3.86 | 318 ratings
TIME TO TURN
Eloy
4.07 | 45 ratings
A MATANÇA DO PORCO
Som Imaginário
4.06 | 45 ratings
AQUELARRE
Aquelarre
4.16 | 32 ratings
PAIX
Alpes & Catherine Ribeiro
3.97 | 71 ratings
GALACTIC ZOO DOSSIER
Brown's Kingdom Come, Arthur
4.09 | 39 ratings
MASTER
Teeth Of The Sea
3.94 | 85 ratings
TERRAGAIA
Quantum Fantay
4.04 | 46 ratings
AQUARMADA
Solar Project
4.11 | 35 ratings
MUSIC FOR POGONOLOGISTS
Řresund Space Collective
3.99 | 59 ratings
DROGA
Vespero
4.12 | 34 ratings
SATYA
My Sleeping Karma
4.13 | 31 ratings
2009
Korai Öröm
3.92 | 84 ratings
FRAMTIDEN AR ETT SVAVANDE SKEPP, FORANKRAT I FORNTIDEN
Algarnas Tradgard
4.15 | 29 ratings
DIFFERENT CREATURES
Řresund Space Collective
4.11 | 32 ratings
4
Dungen
4.05 | 39 ratings
SUMMER SESSIONS VOL. 1
Causa Sui
3.95 | 63 ratings
THE VIEWING POINT
Future Kings Of England, The
4.38 | 17 ratings
DEAD MEADOW
Dead Meadow
3.87 | 129 ratings
LIGHTDARK
NoSound
4.02 | 43 ratings
INTERGALACTIC ART CAFE
StereoKimono
3.98 | 51 ratings
PORTABLE MADNESS
Sensations' Fix
4.15 | 26 ratings
NIGHT RAIDER
Crippled Black Phoenix
4.85 | 9 ratings
UFO PLANANTE
Invisible Opera Company Of Tibet (Brazil)
3.91 | 76 ratings
200 YEARS AFTER THE LAST WAR
Omega

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

TAMBOURINE FREAK MACHINE
Dragontears
CSILLAGOK ÚTJÁN (Ω VIII)
Omega
PERPETUAL MOTION
Grace, Cary
PSYCHO ERECTUS
Polytoxicomane Philharmonie

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Latest Psychedelic/Space Rock Music Reviews


 Nemrud by NEMRUD album cover Studio Album, 2016
4.24 | 59 ratings

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Nemrud
Nemrud Psychedelic/Space Rock

Review by antonyus

5 stars Easily my favorite Nemrud album. Every track on this album is solid gold, and there is no filler. There is phenomenal performance by every member on this album, especially Mert Gocay(guitar/vox) and Mert Alkaya(drum).

The first thing that caught my attention right away, besides Gocay's refined guitar and vocal execution; were the lyrics written for this album. Astonishing and breathtaking. Unpretentious, clean, emotive, meaningful inline with the story. Obviously to me, as you have noticed; the album emanates such mysticism and power unrevealed by the band at this point, turning this experience so new, so unique, that claims for unspoken recognition.

"Gods Of The Mountain" This track is terrific. It has an excellent music flow, great composition with a very tight structural integrity whereby the blend of melodies are composed in such a way that can lift up your emotion. The changing tempo is controlled in a manageable way, there is no sudden change as the transitions between musical segments are crafted smoothly by the band. When the interlude starts with a thunder and guitar start work, that's when the ultimate enjoyment of this track come to your mind. What a wonderful lead guitar!

"Lion Of Commagene" A very dark song with ambient noises and a clean and disturtion guitars are strumming. Gocay's voice is at its best here, and new member Candas plays tiny bass solos too. As this atmosphere reaches its zenith, a churchlike organ meets with lovely dramatic vocal.

"The Euphrates" Really it's just less progressive and more strait forward alternative rock.Kicks off the B side of the album with a synth multi-layered interlude that soon gives way to an exhibition of maximum bombast - effective melodic lines, complex rhythm patterns, and ballsy solos on guitar and keyboard.

"Forsaken Throne" Epic masterpiece. Trademark Nemrud, slowly feeding you genius in the form of music. The is the best and the most progressive one of the album along with the opening track. Gocay sings very well in mellow parts, more catchy and atmospheric. The track has very well synchronized fast parts, really bringing emotion and addiction.

In recent times, there have been quite a few years between Nemrud releases, and I would say that in this case the approach of the band taking their time to craft and perfect an album in this manner really pays off. For anyone interested in Turkish Progressive Rock, "Nemrud" is an essential release. Do not miss out on it.

 Redshift by RHYTON album cover Studio Album, 2016
4.00 | 3 ratings

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Redshift
Rhyton Psychedelic/Space Rock

Review by Kingsnake

4 stars The artwork, wich resembles seventies Roger Dean drew my towards this album.

When I read that the band creates psychedelic spacerock I was sold. The moment I started listening, it was like a timemachine. Suddenly 2016 didn't exist anymore, and I felt like I was listening to a record from 1968-1973. Early Camel, The Doors, King Crimson, Cressida is what comes to mind, when listening to the first track.

But the second track is country-influenced, with a hippie-feel of course. The guitar sounds like John Lees from Barclay James Harvest, but the song itself resembles more Marshall Tucker Band or Charlie Daniels Band.

Overall the album is a psychedelic experience like you've probably heard before, but sounds really welcome, in these days of thunderous heavy progmusic. The pace is slow, mellow and the sound is crispy clean. It sounds like a live concert and sometimes you get the feeling the band could play for hours and hours. But the songs are just long enough to keep you satisfied.

The band doesn't use a lot of keyboard, so most of the psychedelica and experimentation is made my string-experiments, wich gives the whole a more raw approach, like the early seventies-band did a lot.

Because the band doesn't use organ/mellotron it differs a lot from early Eloy, Pink Floyd, Jane, Deep Purple, Uriah Heep. But the approach is the same. Maybe the band is closest to a band like Cream, Humble Pie or Spooky Tooth.

 Any Day Now by LEGENDARY PINK DOTS album cover Studio Album, 1988
4.09 | 15 ratings

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Any Day Now
Legendary Pink Dots Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

4 stars Psych-tinged electronic-glazed goth rock for ghosts, leading off with a tip of the hat to the classic ghost stories of M.R. James (Casting the Runes, inspired by the same story that inspired the classic Dana Andrews movie Night of the Demon) and continuing through a range of intriguing sonic frontiers. The album has a chilly sound which may surprise those who from the charming band name expect a tripped-out hippy psychedelic rock exploration, but which lays the groundwork for the similarly strong release The Golden Age. Waiting For the Cloud offers a ten-minute exploration which represents perhaps the most progressive extreme of the band's sound at this time.
 The Golden Age by LEGENDARY PINK DOTS album cover Studio Album, 1989
4.02 | 24 ratings

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The Golden Age
Legendary Pink Dots Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

4 stars The Legendary Pink Dots' customary psychedelic haze coalesces here into a choking miasma of gothic darkness on The Golden Age, a downright sinister album which evokes a haunting, melancholy atmosphere that pervades every single composition. When it gets back down to Earth, as on songs such as Lisa's Separation, it's a gloomy and poetic evocation of everyday mystery; when it launches itself into more fanciful lyrical territories, the bizarre phantasmagoria we are presented with is reminiscent more of nightmare than dream. Borrowing plenty of gothic rock motifs and bending them in tripped-out ways, this is darkwave for the madhouse. Four solid stars.
 Dancing in Limbo by QUANTUM FANTAY album cover Studio Album, 2015
3.78 | 25 ratings

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Dancing in Limbo
Quantum Fantay Psychedelic/Space Rock

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

4 stars Formed in Belgium, colourful and dynamic psych/space-rockers Quantum Fantay have been playing their mix of instrumental prog, psychedelic and electronic rock with ethnic flavours and eclectic textures for over a decade now. Very much influenced by the Ozric Tentacles (with just a little pinch of Hawkwind) and comparable to other modern groups such as Mantric Muse, Hidria Spacefolk and Korai Orom, `Dancing in Limbo' is their sixth studio album that sees the group experimenting with consistently longer pieces for the first time, the four works on offer each running just over eleven minutes each for a welcome vinyl-length disc.

Truthfully the lengthier workouts here are really just made up of the little fragments that dart in all directions the band usually offers, but here they weave from one through the other with a cohesion and perfect sense of flow that means the longer twists and turns are a natural extension for the band. Far from being a mere clone band of the Ozrics that the group is sometimes dismissed as being, Quantum Fantay isn't adverse to including symphonic passages, heavier blasts and darker, more dramatic moods here as well, directions never really explored by `that other band'!

But nonetheless, opener `Nimbo' is easily the most overtly Ozrics-flavoured moment with plenty of looping electronic trickles, bubbling liquid synth gurgles, gentle flute drifts, up-tempo driving guitar alongside fiery drum bursts and skittering ska saunters all heading in a dozen directions. Ironically, Ed Wynne of the Ozric Tentacles guests on the second track `Rimbo', offering his usual phasing electric guitar soloing and some choice glissando moments, but the piece diverts quite significantly from the template of that group. A bombastic symphonic theme drifts in and out of the piece soaring over gliding synth breezes, and a foot-tapping beat charging the piece ever forwards brings endless empowering strength to the tune, with an addictive and dreamy middle-eastern flecked finale over dancing chiming keys.

Frequently victorious themes drift in and out of the up-tempo and propulsive `Cacimbo', a gutsy piece full of constant stomping momentum, overloaded with mysterious and pretty synth trills, sweetly pulsing bass, fiery electric guitar with some lovely reverberating fuzzy distorted delay and heavy grunting bursts, reflective gentle flute tranquillity and sly reggae ventures all thrown into the psychedelic stew. Closer `Limbo' is more of a slow-build, synths rising with a dramatic symphonic, almost orchestral grandiosity over dusty eastern textures grafted to the twisting guitar bite, drifting flute and an abundance of fizzing electronic breakdowns.

Quantum Fantay deliver exciting instrumental space-rock, always unpredictable and exotic, full of colour and energy whilst remaining endlessly melodic, and `Dancing in Limbo' is their strongest album to date.

Four stars.

 5 by FARFLUNG album cover Studio Album, 2016
3.96 | 5 ratings

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5
Farflung Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars I'm not sure where the blunt numerical title comes from. By my reckoning this is (maybe) the eighth studio album released by the interstellar acid heads from outer-limits Los Angeles (the uncertainty reflects a rather lackadaisical career path since 1995). No matter: the new one is a doozy, however you count it. The better part of a decade has passed since the last recorded Farflung voyage, and it sounds like guitarist Tommy Grenas spent all that time strip-mining asteroids for heavy metals and toxic hormones.

The links to early HAWKWIND are still audible, and strengthened here by a guest appearance from longtime friend and tour mate NIK TURNER. But Farflung always had a more hardcore agenda, taking Hawkwind's time-tested Sonic Attack and injecting it with a shock dose of illegal steroids. These guys aren't just another gang of stoned-to-excess Space Rockers; they play like a renegade gang of delinquent refugees from another dimension, where the building blocks of life are carbon, electricity, and a surplus of testosterone.

The awesome lockstep riffing of "Hive" sets an immediate challenge to unsuspecting listeners: submit, or perish. But don't expect any relief after surviving that initial onslaught; the balance of the album sustains an alien blitzkrieg of churning chords, cosmic feedback, flanger and echo overkill, and all the extroverted authority of a quintet boasting two loud guitarists, two bass players, a solid 4/4 drummer, and lots of oscillating synthesizers.

It's true the music often resembles over-amped straightforward Hard Rock, only slightly warped by an overdose of deadly radiation. But even the more orthodox air-guitar foot stompers ("Preterozoic"; or the oddly- titled "044MZP") drift into some interesting musical black holes, the latter ending in an ominous, atmospheric coda filled with veiled acoustic guitars and more of Nik Turner's Egyptian flute arabesques.

There's even an unexpected but effective update of the song "Being Boiled"...yes, the old Human League chestnut (from back when the League was actually cool). As elsewhere the heavily-treated vocals are presented in a Chrome-plated, adenoidal sneer: a reference of course to Damon Edge and Helios Creed of the Dada-Punk Sci-Fi duo Chrome, another obvious touchstone for Tommy Grenas and company.

It's reassuring to hear an off-radar band like Farflung playing stronger than ever, after twenty-plus years of furious headbanging. Maybe there's a space-time paradox at work, and the band is aging slower as they travel faster into the void. Or maybe it's just a stubborn refusal to grow up. Some kids never learn, even at middle age, when to let go of their adolescence.

 More Weather by MAGNOG album cover Studio Album, 1997
5.00 | 1 ratings

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More Weather
Magnog Psychedelic/Space Rock

Review by bzfgt

— First review of this album —
5 stars WOW!! This stuff is the real deal. "Mystery Goodness" alone is an almost album-length (31 minutes) hunk of transcendent space clatter. If you are looking for some psychedelic stuff to blow your mind, particularly if your mind is already primed, it really doesn't get much better than this.

To me this is their masterpiece, the other album is really good but there's something extra going on here.

The guitar player, Phil Drake, died last year, by the way, so the Magnog there is is the Magnog there is. It's hard to imagine they could have topped this, though. It's shame, he couldn't have been very old, but this is his legacy and it's something of which to be proud.

 More Exotic Ways to Die  by PARALLEL OR 90 DEGREES album cover Studio Album, 2002
4.18 | 36 ratings

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More Exotic Ways to Die
Parallel or 90 Degrees Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

5 stars PARALLEL OR 90 DEGREES is one of my favourite bands and this is my favourite album by them. In fact it's also a top three album for me for 2002. I find it interesting that for this their final album(they did make a comeback album in 2009) that they amped up the heaviness in a major way. PORCUPINE TREE did the very same thing in the very same year with "In Absentia". Sadly PARALLEL OR 90 DEGREES called it quits after this one and by the following year we saw that Andy Tillison was part of the first THE TANGENT release. I always appreciated that Sam and Andy played synths in this band while Andy also played the organ and Sam the piano. They always were a heavy keyboard driven band and that's still in affect here, it's just that the guitar and heaviness were never this prominent.

"Impaled On Railing" sounds amazing to start with that guitar/ bass/ drum melody as the vocals join in. That melody will come and go. It picks up on the chorus each time. Organ before a minute followed by a nice heavy sound. Synths scream 1 1/2 minutes in. Love the spacey calm a minute later then it kicks back in after 3 minutes. A great opening number. "A Man Of Thin Air" opens with bass as spacey synths and drums join in. Vocals follow in this laid back intro. It kicks in hard before a minute including organ. Some excellent guitar expressions follow as themes are repeated. A guitar solo after 2 minutes. It picks up before 4 minutes as they kick some ass. Ripping guitar here as well. Some huge bass lines 4 1/2 minutes in. "Embalmed In Acid" is a top three although I really do love every track on here. It sounds like electronics as reserved vocals join in, keys too. Great lyrics by the way to this one. It's so moving a minute in(gulp). A laid back tune that turns fuller 3 minutes in to great affect. The synths are beautiful before 4 minutes and they continue almost to the end as it slowly fades away with picked guitar and piano. Gorgeous.

"The Heavy Metal Guillotine Approach" is up next. Here we go! Heavy with drums, bass and vocals standing out on the versus. Love that chorus. Guitar to the fore after 2 1/2 minutes then he starts to light it up. So good! Some interesting vocal expressions 3 1/2 minutes in. "Drum One" has random drums and electronics. Growly synths take over and they are powerful as the drums and electronics return. So cool. Keys over top a minute in. Love this stuff. Here we go after 1 1/2 minutes as it picks up speed. The guitar comes in before 2 1/2 minutes laying waste the soundscape.

"The One That Sounds Like Tangerine Dream" has more drums and electronics like the previous track even the same melody. Tons of atmosphere when it settles and voices too. Brilliant. "A Body In Free Drift" is a top three song. Guitar, piano and a beat as the vocals join in. It's fairly relaxed to start out. Such a dreamy chorus. It picks up before 1 1/2 minutes with some prominent bass. The tempo picks up 2 minutes in with the drums out front before settling back to that dreamy vibe. It absolutely rocks after 2 1/2 minutes, just killing it! The wah wah guitar a minute later turns into a shred-fest. It settles back 4 1/2 minutes followed by an instrumental section of bass, keyboards, drums and synths. It kicks back in with vocals after 5 minutes. Organ runs before 7 minutes then the vocals return as we get a big finish.

"The Dream" reminds me of STORM CORROSION with the electronics and sparse piano. A fuzzy sound here before it kicks in with drums and more. Powerful stuff. Another calm after a minute with spoken words as contrasts continue. "Petroleum Addicts" is my final top three. What a way to end the album. A heavy intro then synths pulse followed by more heaviness as the riffs start to speed up. Organ as well before a calm arrives with vocals. The lyrics are so meaningful. It kicks in again at 3 minutes but not for long as it settles back with vocals before kicking in again as contrasts continue. It calms right down with windy synths then samples of someone speaking before piano, mellotron, bass and drums appear briefly before 9 minutes. Vocals and a more upbeat sound take over. Love those Hammill-like vocals. Such angst as he spits out "We're all addicted to petroleum!". Such emotion in the words that follow as well.

A bit of fanboy here but I love this band. That perfect combination of intelligent lyrics and lights out instrumental work.

 Nemrud by NEMRUD album cover Studio Album, 2016
4.24 | 59 ratings

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Nemrud
Nemrud Psychedelic/Space Rock

Review by Cae388

5 stars A stellar album, combining the distorted, evil synthesizer and bass of Horizont's A Portrait of a Boy with a heavily Camel inspired feeling guitar. A stellar album with a beautiful cover. "The Euphrates" is a clear combination of influences and manages to sound unique and new while still having a rich vintage vibe.

The vocals are iffy, but the music far more than makes up for it.

The water sounds at the beginning of "The Euphrates" is also very pleasing and reminds me of a Tarkovsky movie, so I'll give that point to the record as well.

Overall, it's a pleasing blend of Camel's more instrumental pieces, even a little "Snowgoose"-esque, with a heavy backing to drive it forward without making it muddy or sterilized, like I find some prog-metal releases to be. Rich without being overly bombastic. I'd call it one of the best releases of modern progressive, drawing it back to its roots without being plain nostalgia.

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.39 | 542 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Guillermo
Prog Reviewer

3 stars I think that the first time (I could be wrong) that there were albums done with the aim to "re-join" deceased members of bands with the surviving members of their former bands using recordings was THE DOORS's album titled "American Prayer" (1978), which in fact was an album credited to "JIM MORRISON - Music by THE DOORS". That album was done with pre-recorded tapes with Morrison reciting his poetry and with the rest of the surviving members of the band composing and adding new music to the poetry some years later. It was a job which took them a lot of months and it was done with a lot of care thanks to very good editing and production. At that time there were not computer softwares or digital recordings that could be used to do it. Many years later, in 1994-95 the surviving members of THE BEATLES used demo recordings recorded in the late seventies by JOHN LENNON and with the use of digital recording and computer softwares added their instruments and vocals to the demos, creating two very good songs ("Free as a Bird" and "Real Love") to be released as "new Beatles's songs" for their "Anthology" Vols. 1 and 2 albums, respectively. Later, in 1995, QUEEN released their "Made in Heaven" album with the surviving members of the band adding their instruments and vocals to FREDDIE MERCURY's pre-recorded vocals and piano. I can't remember now other examples of this kind of albums or songs. But in 2014 PINK FLOYD announced that they were completing an album of outakes recorded during the recording sessions of their "The Division Bell" album from 1994. These outakes were previously recorded with the late RICK WRIGHT in 1993. They even talked on interviews about these unreleased otutakes at the time their "The Division Bell" album was released. There were plans to release them on an album one day, but it never happened until some years later after Wright died in 2008.

Finally, this previously unreleased material was released in November 2014. The idea (as David Gilmour and Nick Mason said) was to release it in this "The Endless River" album as a tribute to the late Rick Wright, as a way to finally acknowledge his musical contributions to the band, and as a way to finally end the band's history.

There were several hours of unreleased material, but the band selected the best material and finally edited it and completed it to be released on an album. The job was hard but it maybe was easier to be done thanks to the use of more modern technology (computer softwares).

This album is mainly an instrumental music album, with only one song having lyrics ("Louder than Words", with music by Gilmour and lyrics by Polly Samson, Gilmour's wife). The instrumental music is mostly taken from which sounds like instrumental jams, editing them and adding other instruments as overdubs. As other reviews say, it is an album with ambient music which sometimes sounds more like New Age music in some parts, with a lot of keyboards atmospheres by Wright and atmospheric guitars by Gilmour. Some of this music sounds very similar to previously released material of the band in other albums. But in other parts the band sounds really "inspired". The album sounds like a continuous piece of music from the beginning to the end. "Louder than Words" brings the album to a very good end, with lyrics, and being sung by Gilmour. But one really wishes that they could have recorded more songs with lyrics and vocals and not mostly instrumental music. I also think that sometimes this instrumental music sounds like soundtrack music for films. As Gilmour said, this album was done more with the idea to be listened to using headphones and let the imagination of the listener fly.

As a final musical tribute to the late RICK WRIGHT and as a last musical statement from PINK FLOYD as a band, this album was a good idea. But I prefer other albums like "The Divison Bell" or even "A Momentary Lapse of Reason". Some parts of "The Endless River" obviously sound more related to "The Divison Bell" or even to some of their albums from the early to mid seventies, and even related to Rick Wright's "Broken China" solo album from 1996. Wright in interviews done in 1996 to promote his "Broken China" solo album said that he was not totally satisfied with the way "The Division Bell" album was done, and that was one of the reasons he recorded his solo album in 1996. So, maybe "The Endless River" was done by Gilmour and Mason as a way to show more of Wright's influences to the band's sound.

"The Endless River" is not an easy listening experience for me. But it is a good album, anyway, very well recorded, mixed and produced.

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