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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 2014

Uwe (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 | 3170 ratings
WISH YOU WERE HERE
Pink Floyd
4.59 | 3348 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 2827 ratings
ANIMALS
Pink Floyd
4.31 | 2388 ratings
MEDDLE
Pink Floyd
4.22 | 794 ratings
OCEAN
Eloy
4.16 | 279 ratings
RITUAL
Nemrud
4.10 | 496 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.12 | 343 ratings
JURASSIC SHIFT
Ozric Tentacles
4.22 | 117 ratings
BY THE WATERS OF TOMORROW
Vespero
4.13 | 239 ratings
LEGACY
Hypnos 69
4.05 | 2300 ratings
THE WALL
Pink Floyd
4.12 | 213 ratings
TOGETHER WE'RE STRANGER
No-Man
4.06 | 430 ratings
A TAB IN THE OCEAN
Nektar
4.04 | 468 ratings
DAWN
Eloy
4.04 | 392 ratings
THE OCTOPUS
Amplifier
4.17 | 101 ratings
THE FUTURE KINGS OF ENGLAND
Future Kings Of England, The
4.07 | 242 ratings
EVERYONE INTO POSITION
Oceansize
4.21 | 78 ratings
TAKO
Tako
4.06 | 250 ratings
EFFLORESCE
Oceansize
4.01 | 481 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy
4.04 | 269 ratings
FRAMES
Oceansize
4.16 | 86 ratings
PARALLEL WORLD
Far East Family Band
4.11 | 111 ratings
KINGSTON WALL II
Kingston Wall
4.33 | 44 ratings
OBSOLETE
Hedayatt, Dashiell
4.16 | 78 ratings
O 'A' E O 'Z'
Mutantes, Os
4.00 | 366 ratings
PLANETS
Eloy
4.00 | 371 ratings
THE BLACK CHORD
Astra
4.06 | 152 ratings
I WASH MY SOUL IN THE STREAM OF INIFINITY
My Brother The Wind
4.02 | 239 ratings
ERPLAND
Ozric Tentacles
3.98 | 346 ratings
HALL OF THE MOUNTAIN GRILL
Hawkwind
4.09 | 90 ratings
ESPECTRO
Violeta De Outono
4.22 | 49 ratings
LIZARDS EXIST
Lizards Exist
4.08 | 86 ratings
BRIDGES OF KUKURIKU
Quantum Fantay
4.00 | 155 ratings
DEAD AIR FOR RADIOS
Chroma Key
4.06 | 91 ratings
JOURNEY
Brown's Kingdom Come, Arthur
4.10 | 67 ratings
SURPASSING ALL KINGS
Vespero
4.07 | 77 ratings
TRI-LOGY
Kingston Wall
4.17 | 49 ratings
LIQUID
35007
4.19 | 45 ratings
U VRECI ZA SPAVANJE
Tako
4.33 | 31 ratings
MANTRIC MUSE
Mantric Muse
4.05 | 82 ratings
TUDO FOI FEITO PELO SOL
Mutantes, Os
4.12 | 55 ratings
IMPRESSIONABLE SOUNDS OF THE SUBSONIC
First Band From Outer Space
4.13 | 53 ratings
BURNING OFF IMPURITIES
Grails
4.10 | 59 ratings
TRIP TO INNERSELF
Siddhartha
3.89 | 1548 ratings
THE PIPER AT THE GATES OF DAWN
Pink Floyd
4.16 | 47 ratings
THE GUITAR IS MIGHTIER THAN THE GUN
First Band From Outer Space
3.95 | 185 ratings
LEVITATION
Hawkwind
4.15 | 48 ratings
IGRA STAKLENIH PERLI
Igra Staklenih Perli
4.04 | 71 ratings
HÖGTID
Agusa
4.75 | 14 ratings
PSYCHO ERECTUS
Polytoxicomane Philharmonie
4.25 | 31 ratings
MASTER
Teeth Of The Sea
3.96 | 117 ratings
THE HIDDEN STEP
Ozric Tentacles
3.95 | 130 ratings
CURIOUS CORN
Ozric Tentacles
3.86 | 1705 ratings
ATOM HEART MOTHER
Pink Floyd
4.22 | 33 ratings
FANTASTIC FREAK SHOW CARNIVAL
KingBathmat
4.05 | 61 ratings
TIME ROBBER
Omega
3.88 | 373 ratings
REMEMBER THE FUTURE
Nektar
4.13 | 44 ratings
AHORA MAZDA
Ahora Mazda
4.00 | 80 ratings
SUBKRAUT: U-BOATS WILLKOMMEN HIER
Vespero
4.11 | 47 ratings
THE BLACK TOMATO
Řresund Space Collective
3.99 | 85 ratings
UGISIUNSI
Quantum Fantay
3.89 | 254 ratings
THE WEIRDING
Astra
3.91 | 170 ratings
ARBORESCENCE
Ozric Tentacles
3.98 | 87 ratings
SYMBIOSIS
Hidria Spacefolk
4.46 | 19 ratings
ŘRESUND SPACE COLLECTIVE
Řresund Space Collective
3.93 | 119 ratings
FLOWERMOUTH
No-Man
4.15 | 37 ratings
MOTHER FROM THE SUN
Ragni, Marco
4.04 | 57 ratings
WITHOUT INTRODUCTION
Polyphony
3.90 | 179 ratings
STRANGEITUDE
Ozric Tentacles
4.04 | 55 ratings
LEVIATHAN
Annot Rhül
3.90 | 169 ratings
(MANKIND) THE CRAFTY APE
Crippled Black Phoenix
3.87 | 295 ratings
TIME TO TURN
Eloy
3.92 | 111 ratings
JOURNEY OF THE SHAMAN
Nemrud
3.91 | 121 ratings
RETURNING JESUS
No-Man
3.97 | 72 ratings
TERRAGAIA
Quantum Fantay
3.96 | 77 ratings
LONG DISTANCE TRIP
Samsara Blues Experiment
4.28 | 24 ratings
HAVE COME FOR YOUR CHILDREN
I.E.M.
4.08 | 40 ratings
DROGA
Vespero
4.11 | 36 ratings
AQUELARRE
Aquelarre
4.25 | 24 ratings
THE RESURRECTIONISTS
Crippled Black Phoenix
3.91 | 96 ratings
TECHNICIANS OF THE SACRED
Ozric Tentacles
4.07 | 40 ratings
A MATANÇA DO PORCO
Som Imaginário
3.91 | 94 ratings
SOL29
NoSound
4.09 | 35 ratings
FORCE MAJEURE
Solar Project
4.16 | 28 ratings
2009
Korai Öröm
3.97 | 58 ratings
THE VIEWING POINT
Future Kings Of England, The
4.03 | 42 ratings
INTERGALACTIC ART CAFE
StereoKimono
4.07 | 37 ratings
SUMMER SESSIONS VOL. 1
Causa Sui
3.94 | 59 ratings
MUTANTES
Mutantes, Os
4.08 | 31 ratings
EUPORIE TIDE
Causa Sui
3.97 | 48 ratings
PORTABLE MADNESS
Sensations' Fix
3.84 | 135 ratings
WATERFALL CITIES
Ozric Tentacles
4.06 | 33 ratings
AQUARMADA
Solar Project
3.84 | 135 ratings
DEEP POLITICS
Grails
3.99 | 42 ratings
THE MARIA DIMENSION
Legendary Pink Dots
3.84 | 127 ratings
LIGHTDARK
NoSound
3.92 | 60 ratings
OS MUTANTES
Mutantes, Os
4.28 | 18 ratings
THE GOLDEN AGE
Legendary Pink Dots
3.90 | 69 ratings
200 YEARS AFTER THE LAST WAR
Omega
4.10 | 27 ratings
PAIX
Alpes & Catherine Ribeiro

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

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Latest Psychedelic/Space Rock Music Reviews


 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.46 | 419 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Wicket
Prog Reviewer

4 stars It was a given, this album. After all, the Water-less Floyd has never returned to prominence since his departure. but perhaps the emotional passing of Richard Wright, and his immobilization in one final album will bring it all together, to finally rediscover that lost "Floydian" sound.

I'll admit, there are quite a few "Marooned" references here, but I don't consider that to be a bad thing. Hell, "Marooned" was one of the few tracks that were even listenable off "The Division Bell".

(Before I truly go knee-deep, I felt it interesting to point out the desire by Gilmore to NOT make this album "for the iTunes, downloading-individual-tracks generation', hence the continuation from one song to the other, which I've always maintained is the way to get people to buy full albums and not just single songs. If you cut up a pizza in so many tiny slices, you might as well just buy the whole damn thing rather than each tiny individual piece, you'll still be hungry afterwards!)

Side 1 gives me hope. The classic ambiance is there on "Things Left Unsaid" and Gilmore's classic, gut-wrenching guitar solos return on "It's What We Do". Fitting title name, really, because that IS what Pink Floyd do. Or, did, anyway. It sounds familiar, and yet still fresh, and touch, since this album is a tribute to Wright, whose gentle touch is still noticeable here and there throughout the album. Gilmore even said it himself that "this is for the generation that wants to put its headphones on". Which is what Floyd always has been. The jams, the soundscapes, the distinct guitar solos. At the close of "Ebb And Flow", I've come to that conclusion already.

This is that classic Pink Floyd sound we (or at least I) have been waiting for. Redemption, finally, in the form of "The Endless River".

Ok, so maybe Side 1 might have been called "Marooned, Pt. 2", but Side 2 sounds like a "Animals" B-side. Mason goes to down pushing the groove forward on "Sum" and channels his inner Ringo on "Skins", a fitting title since the track is pretty much a drum solo, before it fades out into another electronic filled soundscape, while "Unsung" sounds like an orchestral sample ripped straight from the Halo soundtrack and "Anisina" kinda sounds like an homage to Lennon (with a Billy Joel sax solo). A bit more unusual, this side, but the good news is that the sound is unquestionably Floyd, and frankly, that's all that matters.

If that wasn't enough, Side 3 starts off dramatically, with another soundscape in the form of "The Lost Art Of Conversation (another dig at Waters? Maybe?), before a quite Mason groove creeps in "On Noodle Street". So if I'm going to play the reference game, if Side 1 echoed Maroon off "The Division Bell" and Side 2 echos "Animals, Side 3 is almost certainly going to echo "Another Brick In The Wall" off "The Wall, and while the acoustic solo on "Night Light" might prove me wrong, "Allons-y" proves the point. That subtle but intoxicating pluck from Gilmore's guitar is enough to sell me right away. It's a nostalgic power trip, basically, but after all Floyd, Gilmore and Mason have put up with, a nostalgic power trip is EXACTLY what they needed to get out of this funk.

Of course Side 3 isn't over. "Autumn '68" (perhaps in a reference to "Summer '68" off Atom Heart Mother?) is a haunting organ spot by Wright (recorded in '69, incidentally), especially all the more haunting knowing that he's gone, but soon "Allons-y" returns to brighten the mood again and push on towards "Talkin' Hawkin', filled with oohs, aahs, and more Gilmore tasty solos, along with a Hawkins sample of a commercial that was also used on "Keep Talking" off "The Division Bell".

So now we hit the home stretch with Side 4, and I've already come to the conclusion that this is as fitting a send off as any to the career of a fantastic band. Another typical ambiance to kick off in "Calling", before a Gilmore guitar spot in "Eyes To Pearls" leads into another ambient jam in "Surfacing" before Gilmore makes his first and last vocal appearance on the album in "Louder Than Words", a perfect way to describe the album, really, since it's mainly been an instrumental up until this closer.

So, now we (meaning I) almost certainly come to the end of Pink Floyd for good. An album too together to be a Gilmore solo album. An album too hollow to be a Pink Floyd album. It's tricky, but overall, it's a fantastic swan song to a fantastic band. All I could hope for was just a nostalgic look to the past and perhaps a return to the traditional "signature sound", and of course, it's not perfect, but it's better than I could've imagined, so I guess this will do.

By far not the best Floyd album ever, but still for Floyd fans who pined for that sound, you won't be turned away here. Perhaps it leans on too heavily of an ambient side, but then again, ambiance is part of the Floyd sound.

A fantastic tribute to a fantastic keyboardist, and as good of a swan song as there ever is or was. It still seems so short. Farewell, Floyd.

(Still wish you were here)

 The Division Bell by PINK FLOYD album cover Studio Album, 1994
3.72 | 1558 ratings

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The Division Bell
Pink Floyd Psychedelic/Space Rock

Review by Wicket
Prog Reviewer

3 stars I give Gilmore a pass for the flop that was "Momentary Lapse Of Reason". After all, the album title explains what the album actually was. I mean, it's not like anyone made stellar prog albums in the 80's.

Before "The Endless River" though, this album, "The Division Bell" was supposed to be the final encore for the once proud Floyd, with Gilmore and Mason NOT reunited with Roger Waters BUT reunited with faithful keyboardist Richard Wright.

The idea behind this record, oddly enough, has to do with a re-occurring theme of communication, something that was a bit of a problem between Gilmore and Waters (hmm). Either way, I always felt like Gilmore needed to return this band back to glory, that "signature sound" that was lost so long ago, and perhaps ol Ricky Wright could do it.

"Cluster One" starts off beautifully, with Wright's playing doing all the heavy lifting and Gilmore adding guitar spots where needed, and "What Do You Want From Me" just screams "Have A Cigar". So far, so good. It doesn't sound incredible contrite or strained, but rather relaxed, the way a true Pink Floyd disc should sound. At least there's an attempt to get back to basics.

Sadly, there is still a tug of control in Gilmore's wake to seem more like a solo album, none more so than "Poles Apart". I honestly couldn't care for it at all. That song is a sound of the 90's, in my opinion, where individual stardom was more important than taking a bunch of other guys with you to the top. Thankfully, though, Gilmore redeems himself with a tasty guitar solo spot on "Marooned".

And then from there it just disappears. Nothing after "Marooned" sounded like Pink Floyd, but rather a Gilmore solo album. I had high hopes, man.

Was it surprising? Not really. The 90's might have signaled the rebirth of progressive rock, but "prog" was still as dead in the 90's as it was in the 80's. The result of this album? A few tasty morsels, proof that Gilmore could still bring back the classic Floyd, but ultimately, overcome with pressure just to make it all about himself.

Luckily though, there'd be one last chance for redemption.

 The Final Cut by PINK FLOYD album cover Studio Album, 1983
3.16 | 1408 ratings

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The Final Cut
Pink Floyd Psychedelic/Space Rock

Review by Wicket
Prog Reviewer

3 stars Now we get to the good stuff. And by good stuff, I'm of course referring to controversy.

As a spinoff that age old cliche, there are two types of people in this world. Those who like Gilmore, and those who like Waters.

As my previous Floyd reviews will mention time and time again, the classic Floyd carried with them a signature sound, a style unmatched by any other band before or since, and after "The Wall", that sound was lost forever with the schism between Gilmore and Waters. So, perhaps, it's best to approach this particular album as the supposed "third disc" of "The Wall". Except it wasn't, because Waters decide to change direction. Which explains a bit of the discomfort between the two.

Gone are the days of jams and guitar solos, and more of the 'image-provoking', as Waters took this album in the direction of an in memoriam for his father, who died in Italy during the second World War. As such, there is a solemness to this entire album, and very few instrumental highlights (something Waters didn't seem to care much for, then or since judging his solo work).

So perhaps looking at this album through a story-telling aspect, a concept album, much like "The Wall". To me, it all makes sense. As the Falklands War was raging in Argentina, tempers flared, much like the Vietnam War to America, and especially when it comes to the subject of war, I have no problem with Waters changing the direction to confront this subject matter. Perhaps it would have been better as a Waters solo album (which I might have argued could've been his best).

The problem with this is album, really, is that Waters, for the first time tries to sound sincere, but his voice just wasn't meant for that. Gilmore's, yes. Waters', not at all, so some of the tracks like "The Gunners Dream" where emotional climaxes are supposed to be met, just don't have the kind of tear-jerking fervor you'd expect from a war movie or some emotional heartbreak scene.

Make no arguments, this is a truly depressing album, discussing a truly depressing, but very important matter. It's not something I'll listen to ever again, probably, but its significance is deeply profound. Perhaps it was the moving images of "The Wall" that tipped Waters to stray away from this traditional Floydian sound of "Dark Side", "Wish You Were Here" and "Animals". But "The Final Cut" was the first glimpse at Waters' solo work, and one could almost imagine what "The Wall" would sound like if it was a Waters solo album. It probably wouldn't be the epic rock opera we see it today.

More importantly, though, this album to me feels like Waters' farewell to Pink Floyd as a sound, never before to be heard from again. I'm not going to say he corrupted it at all, it was just time for him to go his own way and find his own sound, a sound I personally don't think he's found yet, after all these years.

Or perhaps it was the dying sound of the 70's prog that swallowed every band's identity, shedding tradition, sound and storytelling for solo bursts, striking out solo, hitting the top, emerging on top of a mound of carcasses battered and bruised, but victorious. Perhaps it was any number of different outside effects that contributed to the demise of Pink Floyd and the "golden age" of prog. Maybe it was just never meant to be, like the separation of The Beatles. Maybe it wasn't fair of Waters to just take the wheel and go wherever he liked.

But maybe it also wasn't fair of Gilmore to criticize his desire to get this emotional weight of his back, so to speak. But just knowing it was a miserable time for the band trying to put this album out, the strain, the anger and the sorrow is clearly evident throughout. Perhaps that its greatest success, this album, the outpouring of emotion, both literal and metaphorical.

It may not be a great album from a prog standpoint, but it's a very important album, to understand its conception and realization. Now the only thing left to do is wonder if "Pink Floyd", meaning David Gilmore and Nick Mason, can reconcile their demons and bring a return to that classic sound, one last time...

 Animals by PINK FLOYD album cover Studio Album, 1977
4.52 | 2827 ratings

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Animals
Pink Floyd Psychedelic/Space Rock

Review by Wicket
Prog Reviewer

5 stars Of all Floyd albums I have, this one is probably the biggest reach in terms of ambition and scale, but also sound. And yet it's also my favorite Floyd album of all time.

If you think that makes no sense, well, yes, you're right. It makes zero sense. Let's see if I can try to make it make sense.

By know you probably know that "Animals" is loosely based off the novel Animal Farm by "everyone's favorite communist" George Orwell, so the lyrical subject matter is based off similar themes presented in the book.

Of course I could care less about lyrical themes, I'm a musician, I need the music, and luckily for me, there's plenty of music. But while "Wish You Were Here" chugged along at a steady speed, there wasn't a whole lot of activity, save for the intermittent guitar solo and electronic ambiance. "Animals" is a bit different though. The pace is still quite leisurely, but there seems to be quite a lot more going on without dismissing their signature jams. "Pigs" is an excellent example. The addition of voicebox "wah-wahs" as I call them add a cool effect to the traditional Floydian jam, but the verses and choruses by Waters add additional elements that don't seem out of place, but they also don't sound like they're just offspring of the main jam and the body of the song like "Shine On You Crazy Diamond".

It is a rather different album than previous discs. "Dark Side" took the tunes and squished the length of the jams and soundscapes into individual tracks, or between verses and choruses. "Wish You Were Here" opened them up and expanded them into the actual songs, keeping catchy choruses to a minimum and leaving the main jams as the body of the song. "Animals" though, has a trend of interspersing these jams between different verses of different textures, especially on "Dogs", where there isn't really a chorus per se, but a number of verses that connect through slow jams and synth-swathed soundscapes, all the while dogs are howling int he background as their masters whistle to them. The jams are there, but they just seem a bit more... sophisticated here.

Same thing with "Sheep". Wright's absolutely hypnotic intro is full of bluesy, jazzy goodness that you'd expect another 10 minute jam, and so you relax in your recliner and get ready for the long haul. Except less than 2 minutes in Waters comes belting out of nowhere and shakes yo up, as if he doesn't want you to sleep. But that's a good thing though, because apart from the reprise of "Pigs On The Wing", this is the true closer, and it's a beauty. This is the first Floyd track in a while that really seems to pick up steam, a song that wants to push forward. I also hear an odd similarity to "One Of These Days" in here as well, or is it just me?

Either way, Animals is my champion of the Floyd discography. It's just a fun listen, it's loaded with jams, it's great to rock out to. Now, it's not as catchy as "Wish You Were Here", but I definitely considered this to be their apex of their careers. With "Dark Side", "Wish You Were Here" and now "Animals", the fun could only last so long, and after "The Wall", the party was well and truly over, but it left behind some tunes no one will ever forget.

 Wish You Were Here by PINK FLOYD album cover Studio Album, 1975
4.62 | 3170 ratings

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Wish You Were Here
Pink Floyd Psychedelic/Space Rock

Review by Wicket
Prog Reviewer

5 stars When you can recognize every single song off a certain album without even looking at the cd, or a computer or not even mentioning the band Pink Floyd, you know that certain album is something special.

This album doesn't move. It just plods along at its own pace, and doesn't care if you get it or don't. As in, it's an album that's signature Floyd. Of course, I can't ignore "Shine On", it's filled with ambient soundscapes, awesome solos and laid back jams that I could just listen to on repeat forever. The composition is fantastic, the sound quality is perfect. It's just a euphoric bliss of ooey, gooey, Floyd-y bliss.

I never really took to "Welcome To The Machine". This windy backdrop that sets the tone for the whole song creates a fantastic effect, and it's a fantastic composition, each little piece working the way it should. I just never found myself being a fan of it to listen to. I don't know why, but there's nothing about it that keeps me coming back. I respect it immensely, I just don't rock out to it.

"Have A Cigar" is quite the opposite. It's another jam, filled with grooves and guitar solos that really do have a psychedelic quality to them, and while "Wish You Were Here" isn't like "Have A Cigar" at all, it's still laid-back and a very pleasant song to listen to, a relaxing acoustic driven track to just let your problems fall to the wayside.

To me, Wish You Were Here is one of the most complete albums is the sense that it has an identity that's evident in each and every track on the album, but also has a sound unique from any other album in the band's repertoire. Sure, "Shine On" shares many qualities to that of "Echoes", but if I asked you to remember one or the other of the top of your head, "Shine On" would probably come through first. Perhaps for no particular reason, it just may be that it's written in such a way that was actually catchy and memorable, without you even knowing it.

Perhaps that's why "Welcome To The Machine" also works on this album. To me, it initially looks like a misfit on this small setlist, but when you listen to it, there's just an innate reaction to sing along with "Welcome, my son". There's an odd catchiness to the choruses and verses that seemed to solidify its dominance on classic rock radio stations. Apart from part 2 of "Shine On", I've heard all these songs on the radio.

That to me is the majesty of this disc. It's an album that continues to strike a chord and sing-along mentality to listeners, even while maintaining a signature Floydian sound and even still, trying to push the boundries of musical technique and sound into the world of music ("Welcome To The Machine", the radio samples on "Wish You Were Here"). That to me covers all the bases of a truly great album. It seems to have something for everyone.

That is, unless you don't like Pink Floyd. Then that's your problem, son, you're just missing out.

 Meddle by PINK FLOYD album cover Studio Album, 1971
4.31 | 2388 ratings

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Meddle
Pink Floyd Psychedelic/Space Rock

Review by Wicket
Prog Reviewer

4 stars Probably the first "proper" Pink Floyd album. There are still the occasional psychedelic tinged "rock 'n rollers" and almost folksy tunes ("Fearless,", "San Tropez") that don't exactly fit in with the "Wish You Were Here" variety, but much like "Atom Heart Mother" before, the spotlight on this album shines on the opener and closer.

"One Of These Days" sounds like a demo that the band just noodled around with that could've easily feel at home on "Dark Side", I kid you not. It's one long build up, the demonic quote, and then just a good ol fashioned jam to close it out. I personally think it encapsulates the quintessential Pink Floyd sound that would be known worldwide for years to come.

I don't want to go so far as to say the middle of the album is very "meh", but like "Atom Heart Mother", these just sound like songs the bad HAD to make in order to be commercially viable, since we're still in the middle of their movie soundtrack period. They're not bad songs at all (I personally like "A Pillow Of Winds" and "San Tropez"), but you just wouldn't recognize the band as Pink Floyd. That is, until you hear Gilmore singing.

Clearly the star of the show is "Echoes", once again, a quintessential masterpiece, highlighting the best the band has ever offered, electronic soundscapes, ambient noises, wonderful vocals and kickass jams and guitar solos. It really reminds me of "Shine On You Crazy Diamond", a track they'd record 4 years later.

That's the interesting thing about his album to me. "Meddle" and "Obscured by Clouds" (though not their greatest effort) are albums that solidified this band's identity, written only a year apart, and a year after "Clouds" came "Dark Side Of The Moon", one of the all time classics, and even though compositionally "Clouds" is trumped by "Dark Side", the potential can be heard on "Clouds", and especially here on "Echoes".

I wonder if people ever predicted such a future for this band when Meddle came out. Would've been an interesting story to tell at the local bar, mind you.

 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.86 | 1705 ratings

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Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by Wicket
Prog Reviewer

5 stars It's interesting, I thought I'd despise this album considering at this point in time Floyd was still trying to transition out of their Syd Barrett psychedelic phase, but for some reason, I'm not appalled at all. I actually hear a progression to their more spacy side that the band would roll from here on out till The Wall.

Another good reason is probably because I'm a big fan of long instrumentals, and this album is bookended by them, with the title track taking the lion's share of attention. It's weird because although it sounds like a Floyd song, you can't shake that "psychedelic" feel to it, even if you can't even describe it very well. Perhaps it' s the orchestral samples that sound ripped straight from The Beatles studio tapes. Or maybe it's the sound quality of the time? Either way, it's a blend of both worlds, and it works well actually, Gilmore's guitars continuing to soar and echo over a beautiful soundscape of keys, noise and stuff.

It's here, where you could probably say, that my favorite aspect of Floyd was finally mastered, the long jam, with Nick Mason keeping a slow steady groove, Wright on the keys setting the tone and the mood, Waters at the helm, and Gilmore just rockin' out. No matter the subject of which these guys played, if there are no instrumental jams, it's not Pink Floyd. Gilmore's guitar is just otherworldly, it's a sound so unique to him that you can't confuse his playing style at all. Much like you could pick out the sound of Hendrix or Petrucci or Malmsteen, even Van Halen or Paige, Gilmore's is a signature sound, one that pops up on either the radio or my iPod and my first reaction is "Ahhh, now I can relax". It's a sedative, and I just absolutely love it.

The same goes for the closer, "Alan's Psychedelic Breakfast". This definitely relates more to the psychedelic side, not merely because it has "psychedelic" in the track name, but because it has a quirkier, perkier aspect to the track. Gilmore's acoustic plucks keep the track moving and chugging along, whereas Mason's grooves held back the band in "Atom Heart Mother", and dictated the pace for Gilmore to start noodling.

It's the inner three tracks that are the intriguing bits. "If" seems to be a Waters showcase, which is weird because Waters and "soft" don't really mix, but that's exactly what happens here. "Summer '68" (not to be confused with Bryan Adams "Summer '69) is a Wright driven piece, with Gilmore taking the mic this time, definitely the more production heavy of the three inner pieces, while "Fat Old Sun" seems to soothe like "If" just a couple of tracks before. These three inner pieces definitely have a whiff of "Beatles" to them, not much, but just a bit of the more accessible side, considering this was released in the middle of the bands soundtrack escapades, where anything other than accessibility is not an option.

I personally find this to be an excellent album, even though I'm not the biggest psych fan, there's still enough of that classic Floyd sound that I just can't get away from, and luckily, it would only get better from here on out. A must in any Floyd fan's collection.

 The Wall by PINK FLOYD album cover Studio Album, 1979
4.05 | 2300 ratings

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The Wall
Pink Floyd Psychedelic/Space Rock

Review by Wicket
Prog Reviewer

4 stars I struggled between either 4 or 5 stars for the rating of this album, the album that essentially waved "goodbye" to the traditional era of prog, as the 1970's gave way to the 80's. But in the end, I settled for 4, not because there are faults with it that prevent me from giving it a higher rating, but it's just not my most listened to Floyd album.

I don't think people would disagree if I considered this a "rock opera", because that's essentially what it is (I'm not going to bother explaining the story behind it, most of you know by now, if not, just google it or read other reviews). But Pink Floyd established itself in the late 60's by taking the psychedelic style of music, forged from the 60's with help from the Beatles, and before long, a "signature sound" was developed, and "The Wall" took that signature sound (unusual forms of music-making, ambient soundscapes, hallucinogenic jams and "totally wicked" guitar solos) and cut them up into easily digestible chunks. Almost, too cut up.

After all, the hits you hear on classic rock stations ("Another Brick In The Wall", "Hey You", "Comfortably Numb", "Run Like Hell") weren't necessarily designed to be accessible, commercial commodities, born to assault the pop charts and launch the artists into fame and stardom. But then again, because of the way the album is scripted (similarly to an opera or broadway show, mind), the longer "hits" where bookended by smaller minute-and-a-half-or-so "bridges". Therefore, the attention immediately gravitates to those longer tracks. And because of that, I've heard these songs so many times on the radio, I've kinda gotten sick of them for the moment.

Of course, that all goes out the window you when you press play on "In The Flesh" and stick it out for the entire album. Then of course, it's a different experience, it's now a story, a movie in aural format. And frankly, that's not a bad thing at all. My biggest gripe is that I wished "Another Brick In The Wall" was not cut up into three parts (that's why when jam bands play this song, it's like 15 minutes long. It BEGS for an extended jam and guitar solo).

But despite the album maintaining the soundscapes, signature long jams and guitar solos, and unusual contemporary extended techniques (radios, groaning, symphonic samples, re-occurrence of themes), there is something profoundly missing from "The Wall" than other albums, something that I just can't quite put my finger on, something you really just can't explain:

There's no.... catch....

There's something with songs like "Atom Heart Mother", 'Dogs", "Echoes", "Shine On You Crazy Diamond", that you just literally just turn on, tune in and drop out. And yet, for some reason, I can't do that here. Maybe that's I'm comparing apples to oranges, as the songs I mentioned where gigantic psychedelic epics that just can't be compared to this album, and that's probably true. But something with this album just doesn't click, and maybe partially, that has to do with the length....

Which is weird, because recently I've lost interest with longer scale prog epics (Wobbler's first album immediately springs to mind), and perhaps it was all a sign of the end of prog's "golden age". When you comb through prog in the 70's and flash by Yes, King Crimson, Genesis, ELP, you could almost see the writing on the wall and expect it to end, perhaps because of eventuality, or maybe because of sheer boredom, which I can attest to. But then, when I play this album, and realize that this (right behind Yes' "Drama") heralded the end, I immediately get nostalgic for the jams from "Animals" and "Wish You Were Here". Or maybe that's because of my innate obsession of jams, improvs and non-stop noodling.

Or maybe it's the fact that the songs are too short that by the time you grasp onto them, however that may be, the song is over the story continues on without you. And perhaps that's why out of Pink Floyd's "golden age", this album is the least of my favorites, even behind "Atom Heart Mother" and "Obscured By Clouds". That of course means nothing in terms of the significance of this album, the incredible storytelling and attention to detail, and the way it pretty much signaled the end of Pink Floyd as we know it today in its most famous guise (Waters, Gilmore, Mason and Wight).

But as usual, I'm nitpicking between gold and silver. "The Wall" is one of the most iconic albums ever released, especially considering the time when it was released, the political upheavals all across the globe between the 70's and 80's, it's an album that always has, and will continue to resonate throughout the world, but maybe excluding songs like "Mother, "Comfortably Numb", it's really an album that's best appreciated when listened from start to finish with no interruption, and albums like that aren't for everyone. So really, it's more of an icon, a symbol, rather than just an album.

Musically, it may not be the easiest to grab onto, but for those who know, it's a symbol of a powerful image in a tumultuous time. An icon for sure.

 Wish You Were Here by PINK FLOYD album cover Studio Album, 1975
4.62 | 3170 ratings

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Wish You Were Here
Pink Floyd Psychedelic/Space Rock

Review by VianaProghead

5 stars Review Nş 4

This is my first review of a Pink Floyd's album. Pink Floyd was a group who kept the same line up all over the years with David Gilmour (vocals and guitars), Richard Wright (backing vocals and keyboards), Roger Waters (vocals and bass guitar) and Nick Mason (drums and percussion) until their eleventh studio album "The Wall", released in 1979. The only exception was their debut studio album "The Piper At The Gates Of Dawn" released in 1967. On that album the guitarist was Syd Barrett, one of the founder members of the group, who left the band because his mental instability caused by LSD. He was substituted by Gilmour, a very close friend of him.

My first contact with this album was in the middle of the 70's, through my schoolmate friends who lent me it. The music has some floating musical atmosphere, which brings us a state of a great peace of mind.

"Wish You Were Here" is their ninth studio album and was released in 1975. It was inspired by the material they have composed while they were touring across Europe. It was recorded over numerous sessions at the famous London's Abbey Road Studios, the studio where The Beatles recorded almost all their albums.

"Wish You Were Here" is my favourite musical work from the band, and it's also their darkest, nostalgic and melancholic piece of music. It occupies also one of the four first places on Progarchives for so many times with "Selling England By The Pound" of Genesis, "Close To The Edge" of Yes and "Thick As A Brick" of Jethro Tull.

"Wish You Were Here" has five tracks. "Shine On You Crazy Diamond" is a composition divided into nine parts. The original intention was to write a song to complete one side of a vinyl disc. However, the song grew so much that it had to be separated into two tracks and it was used to open and close the album. So, parts one to five were included on track one and parts six to nine were included on track five. So, the first track of the album "Shine On You Crazy Diamond (Parts I-V)" was written by Gilmour, Wright and Waters and represents a Pink Floyd tribute to their former guitarist Barrett. This is a great opening piece of music for the album with an undeniably melancholic mood and which perfectly well documents the musical talent of the band. It seeks to reflect Syd's perspective of the world and how it affected the group. The second track "Welcome To The Machine" written by Waters explores the band's negativity and disillusion with the music industry, as a factory with the perspective of make money instead of being a forum of artistic expression, and in general with the world as a whole of an industrialized society. This is a very dark and distressful song that shows an excellent and very interesting musical atmosphere created by the group. The third track "Have A Cigar" written by Waters represents another critic to the music industry. The music is sung by Roy Harper who coincidentally was also recording an album in the Abbey Road studios when the group was recording the album. Roger Waters, who initially wished to sing the song, didn't do that, and David Gilmour refused to sing it. This is a song that brings a different tone to the album and where the music is also excellent and its melody became extremely memorable. The fourth track is the title track song "Wish You Were Here" and was written by Gilmour and Waters. This composition is once more a tribute to Barrett, but it can also been interpreted as a feeling of a person who misses another. This is the simplest song on the album and it's the most beautiful too. It's mostly an acoustic song that features some of the most memorable musical and vocal moments on the album. The fifth track "Shine On You Crazy Diamond (Parts VI-IX)" was written by Gilmour, Wright and Waters and represents the second part of the Pink Floyd's tribute to Barrett. It returns to the musical elements of the first track, adding some more new elements in its musical texture and structure. The music is extremely beautiful and brings the perfect feeling to finish it in a superior way.

Conclusion: As we could see before, this is an album essentially about and dedicated to their founding member Syd Barrett and the farewell tribute by the group to their first leader. However, it represents more than this. It's also a critic to the music industry, such as the hypocrisy of make money essentially with commercial music without the minimum quality level. For me, it's very impressive that the band has made another masterpiece, and has even exceeded their absolutely incredible previous studio album "The Dark Side Of The Moon", released in 1973. Even Wright and Gilmour have declared that "Wish You Were Here" is their favourite Pink Floyd's album. "Wish You Were Here" is often overlooked when compared with "The Dark Side Of The Moon" and it's even often left behind when put up against Pink Floyd's classic albums such as "The Piper At The Gates Of Dawn". I can't agree with that. This is one of the best Pink Floyd's albums and it always was my favourite album of them.

Prog is my Ferrari. Jem Godfrey (Frost*)

 There Is Nothing  by OZRIC TENTACLES album cover Studio Album, 1986
3.54 | 66 ratings

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There Is Nothing
Ozric Tentacles Psychedelic/Space Rock

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars THERE IS NOTHING is the fourth cassette-only release from OZRIC TENTACLES in the 80s before they released their first official album "Pungent Effulgent" in 1989. After the excellent live album "Live Ethereal Cereal" the OZRICS returned to dish out another studio cassette recording shortly thereafter. This album pretty much continues the consistent sounds that every album before incorporated. The evolution of OZRIC TENTACLES has to be one of the most subtle and slow burners in all of music history because from the very first album to the latest, the differences are fewer than the similarities. Not to say there are no changes here though. There is a noticeable leap in production and mixing. The instruments blend together more effectively, the synths have more variety in not only sound but in volume control. There are also more ethnic influences creeping in as well.

The space rock retains a strong Hawkwind feel as usual but there is also a huge "Fish Rising" Steve Hillage feel as well. At times it is a bit too pronounced and the OZRICS feel like more of a tribute band than original. It wouldn't be an OZRIC TENTACLES early release if it didn't include some reggae, ambient synths, hypnotic percussion and echoing guitar riffs. This would also be the last release with drummer Tig (Nick van Gelder) who would be replaced by Merv Pepler. The music is consistent and the track "O-I" would be re-recorded and included on "Pungent Effulgent."

Personally except for the "Live Ethereal Cereal" release, i find these early offerings by the OZRICS a little monotonous and too similar in their style and song structures to warrant any true excitement. It should be remembered that this is space rock and not progressive compositions brimming with virtuosity. For what this band is offering is pleasant enough and well played and in the right mood can be quite satisfying. I tend to eschew these early releases for the most part because i find the later releases much more varied from this early stage. OZRIC TENTACLES albums tend to be quite lengthy affairs as well and at 72:06 this one is a bit too long. I can't say anything bad about this one, but at this point it does seem to evoke exactly the same reactions as the previous albums and coming right after the live album seems a little less energetic. Decent and pleasant but not much more.

As with all six of the cassette-only releases THERE IS NOTHING was eventually released in 1994 by Dovetail Records on CD and today can be found digitally remastered and available in the "Vitamin Enhanced" boxed set.

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Bands/Artists Country
3 LEAFS United States
35007 Netherlands
3RD EAR EXPERIENCE Multi-National
THE 4 LEVELS OF EXISTENCE Greece
ABUNAI! United States
ACID FLORIANI Russia
ACID MOTHERS TEMPLE Japan
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
ATAVISMO Spain
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
BLACK LIGHT SECRET United Kingdom
THE BLACK NOODLE PROJECT France
BLACK SCIENCE United States
BLAND BLADEN Sweden
BLIM United Kingdom
BLONDE ON BLONDE United Kingdom
BLUE PHANTOM Italy
BOAT BURNING United States
BOSQUES Argentina
CHRISTIAN BOULÉ France
BRAINSTORM Australia
DAVE BROCK United Kingdom
BROTHERHOOD OF THE MACHINE United Kingdom
ARTHUR BROWN'S KINGDOM COME United Kingdom
BUHO ERMITANO Peru
BURNT NOODLE United States
ROBERT CALVERT South Africa
CAMEL United Kingdom
CANTERBURY GLASS United Kingdom
CAPITAL SENTIMENTAL Netherlands
CARLTON MELTON United States
THE CARPET KNIGHTS Sweden
CARRÉ.LADICH.MARCHAL Multi-National
CATHARSIS France
CATS ON THE ROOF Ukraine
CAULDRON Sweden
CAUSA SUI Denmark
CENTRIC JONES United States
LES CHAMPIGNONS Canada
CHARLIE & ESDOR Sweden
CHICKENCAGE EXPERIENCE Germany
CHILLIWACK Canada
CHIMERA United Kingdom
CHROMA KEY United States
CIOLKOWSKA Russia
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
COSMONAUTTRANSFER United Kingdom
COSMOS FACTORY Japan
CRANIUM PIE United Kingdom
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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
DEAF SCENE United States
DEEP SPACE DESTRUCTORS Finland
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 EYE Norway
ELECTRIC MOON Germany
ELEVATOR Canada
BRIAN ELLIS United States
ELMER GANTRY'S VELVET OPERA United Kingdom
ELOY Germany
AN EMERALD CITY Multi-National
THE ENTRANCE BAND United States
EQUATIONS Portugal
ESCAPADE United States
ETER-K Peru
ETERNAL TAPESTRY United States
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
HANDWRIST Portugal
HASH JAR TEMPO Multi-National
HAUNTED LEATHER United States
HAWKWIND United Kingdom
A HEADFULL OF MONSTERS United Kingdom
THE HEADS United Kingdom
HEAVY 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
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