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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 | 3152 ratings
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4.59 | 3335 ratings
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4.52 | 2811 ratings
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4.31 | 2373 ratings
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4.22 | 796 ratings
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4.19 | 279 ratings
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4.10 | 494 ratings
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4.11 | 342 ratings
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4.13 | 236 ratings
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4.13 | 213 ratings
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4.18 | 116 ratings
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4.05 | 427 ratings
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4.04 | 464 ratings
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4.17 | 101 ratings
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4.04 | 389 ratings
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4.06 | 249 ratings
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4.05 | 241 ratings
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4.21 | 73 ratings
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Tako
4.01 | 479 ratings
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4.04 | 268 ratings
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4.36 | 42 ratings
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4.15 | 86 ratings
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4.11 | 109 ratings
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4.16 | 78 ratings
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4.02 | 239 ratings
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3.99 | 364 ratings
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3.99 | 368 ratings
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3.98 | 345 ratings
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4.11 | 86 ratings
ESPECTRO
Violeta De Outono
4.03 | 150 ratings
I WASH MY SOUL IN THE STREAM OF INIFINITY
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4.08 | 86 ratings
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Quantum Fantay
4.00 | 155 ratings
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Chroma Key
4.27 | 39 ratings
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Lizards Exist
4.06 | 90 ratings
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Brown's Kingdom Come, Arthur
4.28 | 37 ratings
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Mantric Muse
4.10 | 67 ratings
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4.17 | 49 ratings
LIQUID
35007
4.07 | 76 ratings
TRI-LOGY
Kingston Wall
4.19 | 44 ratings
U VRECI ZA SPAVANJE
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4.12 | 55 ratings
IMPRESSIONABLE SOUNDS OF THE SUBSONIC
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3.89 | 1540 ratings
THE PIPER AT THE GATES OF DAWN
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4.13 | 53 ratings
BURNING OFF IMPURITIES
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4.10 | 59 ratings
TRIP TO INNERSELF
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4.16 | 47 ratings
THE GUITAR IS MIGHTIER THAN THE GUN
First Band From Outer Space
3.94 | 185 ratings
LEVITATION
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4.14 | 48 ratings
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Igra Staklenih Perli
4.03 | 82 ratings
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4.04 | 70 ratings
HÖGTID
Agusa
3.96 | 117 ratings
THE HIDDEN STEP
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3.95 | 130 ratings
CURIOUS CORN
Ozric Tentacles
4.21 | 34 ratings
FANTASTIC FREAK SHOW CARNIVAL
KingBathmat
4.00 | 80 ratings
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4.13 | 44 ratings
AHORA MAZDA
Ahora Mazda
3.99 | 85 ratings
UGISIUNSI
Quantum Fantay
4.11 | 47 ratings
THE BLACK TOMATO
Řresund Space Collective
3.88 | 371 ratings
REMEMBER THE FUTURE
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3.85 | 1693 ratings
ATOM HEART MOTHER
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3.89 | 252 ratings
THE WEIRDING
Astra
4.05 | 58 ratings
TIME ROBBER
Omega
4.76 | 13 ratings
PSYCHO ERECTUS
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3.91 | 170 ratings
ARBORESCENCE
Ozric Tentacles
4.46 | 19 ratings
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Řresund Space Collective
3.93 | 119 ratings
FLOWERMOUTH
No-Man
3.96 | 89 ratings
SYMBIOSIS
Hidria Spacefolk
3.90 | 179 ratings
STRANGEITUDE
Ozric Tentacles
4.06 | 51 ratings
LEVIATHAN
Annot Rhül
4.04 | 57 ratings
WITHOUT INTRODUCTION
Polyphony
3.90 | 168 ratings
(MANKIND) THE CRAFTY APE
Crippled Black Phoenix
3.87 | 294 ratings
TIME TO TURN
Eloy
3.92 | 111 ratings
JOURNEY OF THE SHAMAN
Nemrud
3.96 | 81 ratings
TECHNICIANS OF THE SACRED
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4.16 | 33 ratings
MOTHER FROM THE SUN
Ragni, Marco
3.91 | 121 ratings
RETURNING JESUS
No-Man
3.96 | 76 ratings
LONG DISTANCE TRIP
Samsara Blues Experiment
4.28 | 24 ratings
HAVE COME FOR YOUR CHILDREN
I.E.M.
3.97 | 71 ratings
TERRAGAIA
Quantum Fantay
4.11 | 36 ratings
AQUELARRE
Aquelarre
4.25 | 24 ratings
THE RESURRECTIONISTS
Crippled Black Phoenix
3.91 | 94 ratings
SOL29
NoSound
4.13 | 32 ratings
AQUARMADA
Solar Project
4.09 | 35 ratings
FORCE MAJEURE
Solar Project
4.06 | 39 ratings
MASTER
Teeth Of The Sea
3.97 | 58 ratings
THE VIEWING POINT
Future Kings Of England, The
4.16 | 28 ratings
2009
Korai Öröm
4.07 | 37 ratings
SUMMER SESSIONS VOL. 1
Causa Sui
4.13 | 30 ratings
EUPORIE TIDE
Causa Sui
4.05 | 38 ratings
DROGA
Vespero
4.88 | 9 ratings
UFO PLANANTE
Invisible Opera Company Of Tibet (Brazil)
3.98 | 47 ratings
INTERGALACTIC ART CAFE
StereoKimono
3.94 | 59 ratings
MUTANTES
Mutantes, Os
3.84 | 135 ratings
WATERFALL CITIES
Ozric Tentacles
3.84 | 135 ratings
DEEP POLITICS
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3.97 | 47 ratings
PORTABLE MADNESS
Sensations' Fix
3.91 | 66 ratings
200 YEARS AFTER THE LAST WAR
Omega
3.84 | 127 ratings
LIGHTDARK
NoSound
3.99 | 42 ratings
THE MARIA DIMENSION
Legendary Pink Dots
3.99 | 40 ratings
A MATANÇA DO PORCO
Som Imaginário
4.10 | 27 ratings
PAIX
Alpes & Catherine Ribeiro
3.88 | 78 ratings
FRAMTIDEN AR ETT SVAVANDE SKEPP, FORANKRAT I FORNTIDEN
Algarnas Tradgard

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

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Latest Psychedelic/Space Rock Music Reviews


 Once There Was A Time When Space And Time Were One by MY BROTHER THE WIND album cover Studio Album, 2014
3.32 | 31 ratings

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Once There Was A Time When Space And Time Were One
My Brother The Wind Psychedelic/Space Rock

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

3 stars A collective comprised of members of a diverse range of bands such as Anekdoten (Nicklas Barker), Magnolia (Ronny Eriksson) and the Gösta Berlings Saga (Mathias Danielsson), Swedish band My Brother The Wind deliver their third album `Once There Was a Time When Space and Time Were One', and it's another fully improvised, reliable collection of heavy psych rock, space music and immersive Krautrock sounds. The results are always enjoyable, if sometimes lacking something truly thrilling, but genuinely lovely moments still emerge throughout the disc.

After an opening `Prologue' of psychedelic drones, phasing sounds and backwards effects, the meandering yet joyful `Song of Innocence - Part 1' smoulders with slow-burn electric guitar embers and murmuring bass in the manner of the most mellow moments of Agitation Free and the Oresund Space Collective. After being sucked into a whirling vacuum of spinning feedback, the band crash back to Earth with `Ufo'-era Guru Guru-esque howling raggedness driven home by incessant pounding drums from newcomer to the group Daniel Fridlund Brandt. `Into the Cosmic Halo' lurches back and forth in tempo with scuzzy early Hawkwind-like charm, but it's really just a framing for aimless guitar soloing. The more meditative `Misty Mountainside' is an Indo/raga rock- flavoured droning acoustic guitar respite, with hypnotic flute ruminations reaching for the heavens.

`Garden of Delights' is a slowly building twelve minute guitar jam that grows in intensity with nice middle eastern themes slowly emerging, but although the piece is probably twice as long as it should be, the blanketing of unsettling Mellotron choir in the finale satisfies. `Thomas Mera Gartz' is a groaning sustained-note electric guitar and chimes drone, the title track is another dreamy acoustic guitar raga with thoughtful bass interjections, and `Epilogue' is a brisk and sumptuous up- tempo Mellotron soaked beauty. Spirited acoustic guitar races alongside sprightly drumming, warm relentless bass and glorious Mellotron rises and falls on clouds of hallucinogenic bliss.

`Once There Was a Time When Space and Time Were One' ticks plenty of the right boxes in the genres mentioned above, but some stretches get a little monotonous or fail to truly engage. It also has to be said that the shorter, ambient and reflective moments are more interesting than the heavier overlong jams, and they're also disappointingly the shorter pieces on the album. Still, this is a nice album, and the fanciful hazy cover artwork just lifts it that little bit higher still!

A solid three star album.

 Sad Cypress by IVORY album cover Studio Album, 1980
3.17 | 44 ratings

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Sad Cypress
Ivory Psychedelic/Space Rock

Review by Conor Fynes
Prog Reviewer

3 stars 'Sad Cypress' - Ivory (65/100)

Ivory's debut Sad Cypress was released at least three years after progressive rock starting getting uncool. Even the bands carrying the torch around then (most notably Marillion) had largely acknowledged times were changing, and shifted their styles accordingly. With a style that sounds like it was drawn straight for the circa-Selling England by the Poundgolden period, there is a sad romanticism to Ivory's music. A noble unwillingness to develop with the current trends. Although composer Ulrich Sommerlatte was relatively new to progressive rock, Ivory's story is made unique by his relatively late arrival to the scene; he was already in his mid-sixties when he founded the band with his son Thomas. A professional composer and conductor, he had decades of musical experience going into progressive rock. Knowing Ivory was a product of late adulthood undoubtedly changes the perspective.

You can hear Sommerlatte's maturity in every part of Sad Cypress; it is gentle, lavishly composed, and shamelessly out-of-touch which what (back then) was considered cool and edgy. While I don't think age itself is any impediment to innovation (just listen to some of Scott Walker's recent work for proof!) there needs to be existing discomfort for an artist to carve their own musical path. With the amount of experience some of the 1970s legends are only now reaching, it is presumable Sommerlatte went into writing Sad Cypress with a lot of confidence in his abilities as a composer. He formed Ivory as a way to express his admiration for symphonic rock, and his influences are clear to show. Above all else, Genesis comes to mind. Ivory's progressive rock favours warmth and consonance. There are no abrupt shifts in pace, no sound unpleasing to the ear. Quite like Selling England by the Pound, the gentle warmth belies the complexity of the composition. Christian Mayer's voice even sounds so close to Peter Gabriel's that it's impossible not to foster the comparison.

Let's not mince words about it; Ivory's sound is so close to the Genesis template that it's hard to approach them without some kind of existing bias. Fans of Selling England by the Pound should enjoy Sad Cypress to varying extents. If you're not a fan of the Peter Gabriel era, you might as well skip out on Ivory. Especially given that it was coming up on a decade since Genesis had made their original statements in this style, one cannot help but think Ivory did nothing to advance prog rock as an artform. That may sound like a condemnation-- and surely, it's reason enough for Ivory to have remained unknown-- but there's such essential beauty to the Genesis sound that I'm happy other bands were around to make further use of it. In the specific case of Ivory, most of their formula was already laid out before them, tried-and-tested, and relatively sure to succeed at least marginally. Sommerlatte's tone as a composer is perhaps too gentle to breathe life into the entire album, but his arrangements are more sophisticated than most of what the younger innovators were getting up to a decade prior. Sad Cypress is a worthy recommendation if ever you're looking for a new, but familiar sound to sate your thirst for symphonic prog-- expect no more or less of it.

As a side-note, I'd recommend checking out the expanded CD version of the album over the abridged vinyl counterpart. The supposed bonus tracks arguably make the album longer than it should be, but some of Ivory's best work was lamentably cut for sake of time restrictions. Although the lyrics are saccharine enough to spell death for anyone with a latent diabetic condition, the fifteen minute "Barbara" is as delicate and beautiful a progressive epic as anything I've heard.

 At The Height Of The Trees by CIOLKOWSKA album cover Singles/EPs/Fan Club/Promo, 2014
4.00 | 1 ratings

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At The Height Of The Trees
Ciolkowska Psychedelic/Space Rock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

— First review of this album —
4 stars This is the first step of a new russian, St. Petersburg based quartet named CIOLKOWSKA. A short but rather essential music collection, currently only available via download from their bandcamp page. Just for the reason that the recording quaIity does not fail at all and I really appreciate their output I would consider this a debut EP which consists of three songs. There's not much known about this band, but I'm quite sure this will change soon, if only they may have the impulse to act further.

The characteristic within the sound is a special dual guitar appearance. That means on one hand we have a more common - though surely excellent - psychedelic/space lead guitar work by Egor Svysokikhgor to state. And then Alesya Izlesa adds a valuable contrast, a fine native folk touch with her ukulele, this in a somewhat semi-acoustic manner. That will harmonize quite well and sometimes even sounds close to their fellow countrymen from Vespero.

This comparism is definitely valid, at least when it comes to the quality of the compositions. A surprising find - all four musicians yet are acting on a high level. 'At The Height Of The Trees' comes with 26 minutes of filigran and multi-layered psychedelic/space music, definitely attractive to genre fans.

 So Many Minds, So Little Time by FARFLUNG album cover Boxset/Compilation, 1997
3.13 | 4 ratings

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So Many Minds, So Little Time
Farflung Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

3 stars The album's whimsical title carries a hint of fatalism, like something Victor Frankenstein might have ruefully muttered after a tough day at the lab. But what exactly is it trying to say? That there aren't hours in a day to annihilate our brains with shock doses of guitar reverb and echo effects?

The Space Rockers of Farflung had only been around a few years before releasing their first compilation: a generous collection of unreleased studio tracks and album samples, plus one live performance. Two decades later the band hasn't attained anything near the same galactic fame as their primary role models in HAWKWIND, despite having toured with Nik Turner, and collaborated with kindred spirits like Damo Suzuki, Helios Creed, and Lydia Lunch.

You can add each of those names to an itemized short-list of musical influences: not only Hawkwind, but also the Krautrock legends of CAN, the art-punk anarchists of Chrome, and the noisy No Wave subculture of inner Manhattan (transplanted here to a sunnier solar system called Los Angeles). But Farflung always had its own unique, deep-space aesthetic, rooted in hard rhythms, heavy guitars, and infrared cosmic vibrations, all on ample display throughout the eight selections in this set.

The album opens with their early trademark anthem "Landing On Cydonia": a fourteen-plus minute Floydian space walk with some killer riffing at its climax. Compare that to the later "Icarus/Daedalus", another long, one-chord kosmische jam, eventually falling into a black hole of pure ambiance before its sudden, explosive finish. Like the song's mythological namesake when he flew too close to the sun, prolonged exposure to this sucker at high volume can be fatal.

A surprising but effective cover of the title track from the Can album "Future Days" acknowledges another stylistic link. The choice of song was unexpected from this quartet of SoCal, sci-fi headbangers, revealing levels of nuance and subtlety rarely heard in the Farflung universe. No such refinement was necessary for the live "Mother Orbis", a companion of sorts to the tribal Krautrock stomp of Can's "Mother Sky" (Orbis is Latin for World...Mother Earth, in other words). The song ends the album in quintessential Farflung fashion, with an unstoppable Space Age groove, lifted wholesale from the 1970s but looking forward toward a dystopian future.

My conservative three-star rating is only a reflection of the album's piecemeal structure, where B-sides rub shoulders with alternate mixes, and so forth. But it may in fact be the best introduction yet to the alien charms of this extraterrestrial group.

 Live At 013 Roadburn 2009 by FARFLUNG album cover Live, 2010
4.00 | 1 ratings

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Live At 013 Roadburn 2009
Farflung Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

— First review of this album —
4 stars If Hawkwind was the grandfather of Space Rock, Farflung is his pimply, adolescent stepchild, the kid with a chip on his shoulder and a loaded gun in the closet, hidden beneath his dirty underwear, assorted comic books, and a well-thumbed copy of Anton LaVey's Satanic Bible.

And this is what he does when mom and dad are out for the evening: takes a hit of acid, cranks up the stereo, and flops down on his unmade bed, ready to die in a Wall of Sound.

Throughout their long (and, on this site, largely unsung) history, Farflung has always straddled that razor-blade studded line separating Space Rock from Heavy Metal. The band's suitability to these Archives depends on which way their music is leaning at any given moment: a direction varying from album to album, sometimes from song to song. But on stage you'll hear the heavier, harder-rocking Farflung, playing shorter numbers at a higher volume to a younger crowd eager for total sensory obliteration.

The aggressive headbanger riffing in this set carries it about as far from the lofty ideals of Progressive Rock as you can get without losing your sanity. But there's an awesome energy here that needs to be acknowledged, audible even in a digital facsimile of the '09 event, held in the Dutch city of Tilburg (013 was the name of the venue, where Farflung shared the same stage with Motorpsycho and Amon Düül II). On record the music has serious punch. In person it must have been like receiving an undiluted blast of deadly cosmic radiation.

Farflung was flying closer to Earth at the time, but they hadn't forsaken their Space Rock roots. The longer selections ("Saint Anthony's Fire"; "Landing On Cydonia") often develop into massive interstellar jams, and even the shorter songs typically feature monster grooves. Check out the reverb-and-echo orgy of the concert opener "Breach of Eye", or the headlong thrash of "Endless Drifting Wreck", a title no doubt describing the band's mindset at the time. "Thank you for the acid, Colin..." drawls an obviously wasted Tommy Grenas during the lysergic intro to "Like It Has Never Been", but I like to imagine him winking while saying it, like a method actor in character making an aside to his audience.

At 74-minutes it's an overlong album, except to delinquent metal heads and other masochists. But the full show, from start to finish, is relentless in the best sense of the word. This is music for jubilant ass-kicking, in places making Hawkwind's classic Space Ritual sound like a playschool milk-and-cookie break.

 Inside Pink Floyd by PINK FLOYD album cover DVD/Video, 2003
2.89 | 41 ratings

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Inside Pink Floyd
Pink Floyd Psychedelic/Space Rock

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars The inside series of DVDs are a compelling snapshot of prog history for the progressive rock fan. It is worth noting that there are a series of "Inside" DVDs available, including Van der Graaf Generator, Yes, Supertramp, Emerson Lake and Palmer, Genesis and of course "Inside Pink Floyd". Each DVD is in Dolby digital 5.1 and DTS so the sound is incomparable.

The Inside series is an independent critical review featuring rare archive footage much of which has been previously unavailable on DVD. Pink Floyd clips from the Barret era are here focussing on Piper at the Gates of Dawn for much of the program. It is a rare treat to see Waters and Gilmour together In the Dark Side of The Moon era too. We hear from band members about the recording process and I was surprised to see performances from More and Obscured by Clouds that are rare indeed.

Musicologists of varying backgrounds critically assess the music to discover the essence of the band. It is a very brief look at the band as are all of these DVDs of the "Inside" series, clocking just over one hour in length. Therefore it is more of a taster for those new to Pink Floyd or for those who just want to look back at the golden years of this quintessential prog rock band.

 When Science Fails by FARFLUNG album cover Studio Album, 2002
4.00 | 3 ratings

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When Science Fails
Farflung Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars In my limited exposure to the Space Rockers of Farflung this 2002 release stands out as the anomaly in their catalogue. Instead of the guitar-heavy acid rock of other Farflung efforts, the album presents an altogether different, slow-burn brain-fry...crockpot psychedelia for the new millennium.

It was commissioned as a film soundtrack, for an obscure Slovenian feature named 'Varuh Meje' ('Guardian of the Frontier'), unseen by this cinephile but resembling in outline an outdoors adventure with mystical/sexual pretensions (imagine an eastern European update of John Boorman's 'Deliverance'). The film was barely released but managed to eke out a few awards on the festival circuit, despite lukewarm reviews on IMDB. The score might actually have been the best thing in it, although I'm guessing very little of the music survived the final cut. Was it just too far-out for such an earthbound allegorical narrative?

One thing is certain: whatever else it might be, this album ain't Prog. The sound is more a blend of Post Rock minimalism and Krautrock electronica, spiked with echoing guitar shards and ominous synthesizers. Information about the session is hard to find, but it's possible the drummer was on vacation at the time, leaving the various rhythms to be generated by other, non-human means: odd pulsations, and so forth. Note the hypnotic, mechanical groove under 'Something in the Water', recalling an early CLUSTER experiment. Or the sound of creaking oarlocks during the long, hidden epilogue, twisting a similar effect from the first NEU! album into something more anxious and malevolent.

The music was a welcome change of pace for such an otherwise aggressive band. It doesn't grab the listener by the neck and demand his attention, but insinuates itself under the skin and into your unconscious mind. Here's proof that even the noisiest headbanger can sometimes learn to use his noggin more effectively.

 Technicians Of The Sacred by OZRIC TENTACLES album cover Studio Album, 2015
3.96 | 81 ratings

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Technicians Of The Sacred
Ozric Tentacles Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars UK band OZRIC TENTACLES are among the living legends of progressive rock, although I'm not quite sure if they would consider themselves to merit being described in such terms. With a career that kicked off 30 years ago and a prolific total production over the years, this is a firmly established band with a sizable fanbase at this point, and if my memory is correct they are one those bands that have established an audience that cross a great extent of stylistic borders along the way. "Technicians of the Sacred" is their latest studio production, and was released in May 2015 through the Snapper Music imprint Madfish.

As glorious as the past of the Ozrics is, the last ten years or so have seen the band dwindling down a bit, at least as far as recording new material goes. Of the 26 studio and live albums to their name, only five of those have been released over the past decade, including this latest album of theirs. I've also gotten the impression that their latest few studio albums haven't been quite up to the quality of their earlier material, and that there might have been some slight concerns about the band having more or less emptied their well of inspiration and creativity. Four years have gone since Ozric Tentacles released a studio album now, and it was something of a surprise, at least for me, that their latest one was a double feature. After giving this one an inspection it's also fairly clear to my mind why it was released as a double album however, as my impression is that this isn't a case of a double album produced merely to be able to put out all material made rather than selecting the best ones for a single CD, but rather that this is a double feature with subtle differences that makes these two CDs slightly different from one another.

The six cuts chosen for the first CD all share some characteristic features: They are dominated by keyboard and synthesizer textures, liberally flavored with electronic effects and the guitars are toned down both as providers of plucked details, riffs, textures and soloing runs. The songs are very much Ozrics sounding, with all manners of futuristic sounds, surging keyboards and playful effects that invokes thoughts of science fiction just as much as fantasy fiction, and the distinct warm bass groove is of course a feature. But these compositions are all what I'd describe as rather elegant in nature, fairly smooth as seen in the context of this band's history, and just a tad more toned down throughout. Space rock, or fantasy rock if you like, of high quality and with a liberal array of keyboards, synthesizers and electronic effects in the driver seat.

I experience the second disc as a somewhat different creation. The guitar is more prominent, some of the sounds used are more visible, more in contrast with the environment if you like, and many of them feature more distinct world music inspired details, and then of the kind that comes with associations towards Asia and the Middle East first and foremost. The most excellent Epiphlioy the most distinct case in point, and one of the reasons for why this piece of a clear album highlight for me. A creation that takes me back to some of the classic, fairly early albums by the Ozrics that one. Just about as potent is Smiling Potion, one of those tracks that opens with the use of some distinctly odd sounds, explore them for a bit and then starts developing into quite the moving, vibrant monster tune. A future live favorite if I ever heard one. The differences between the two CDs here are fairly subtle, and there is of course a chance that my mind is playing tricks on me. Still, my impression is that this second disc features more use of exotic sounds, more use of and room for the guitar and a slightly less use of keyboards and synthesizer dominated arrangements. What isn't a matter of doubt is that this an Ozrics Tentacles production however, not just in name but also in game. The trademark sounds, effects and arrangements of the Ozrics is instantly recognizable, the band sticking with sounds, effects, themes and arrangements tested and proven by time, and use their experience to assemble all elements into compelling material with a fresh spirit, vibrancy and nerve that I've found somewhat lacking in this band for the last few years.

While I wouldn't rate "Technicians of the Sacred" as among the all time greatest albums by Ozric Tentacles at this point, that is a call that is much too early to give for a new album by such a long-lasting and prolific band anyway, what I can state with some degree of certainty is that for me personally, this is a strong album. If it will grow on me as time goes by or of it will lessen in impact when it's no longer fresh and new is something time will have to tell. But as of right here and right now this is a double album I feel I can safely recommend for old time fans and curious newcomers to the band alike.

 25,000 Feet Per Second by FARFLUNG album cover Studio Album, 1995
3.92 | 6 ratings

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25,000 Feet Per Second
Farflung Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars Farflung emissions have been crossing my third eye for years, but only recently have I made an effort to explore their catalogue in depth. So imagine my surprise upon learning that the band, after churning out stellar Space Rock (pun intended) for almost two decades, hasn't received a single review so far in these pages.

Is our progressive net stretched so wide and so thin that it no longer captures those maverick fishes unwilling to swim in crowded, more conspicuous schools? Or does the band hail from an alien galaxy too far beyond our comprehension, in that alternate reality known as Los Angeles, California?

No matter, as Albert Einstein might have said. Allow me to introduce them, briefly and belatedly.

Farflung is a legitimate heir to the throne of early HAWKWIND, taking up that heavy cosmic scepter and carrying it boldly into the 21st century. Their first album, long out-of-print but now resurrected in digital form (with bonus tracks), saw the band escaping the drag of Earth's gravity using hard motorik rhythms beneath a wall electric guitars, all plugged into what sounds like every flanger, phase shifter and echo box between LA and Alpha Centauri.

The music is very loud and suitably spaced out, but has a certain tongue-in-cheek, retro (rocket) awareness: look at the Buck Rogers cover art, and listen to all the laser beam synthesizers. Or consider the fourteen-plus minute "Landing On Cydonia", an obvious album highlight, the title a reference to that Martian valley where gullible pseudo-scientists once imagined an uncanny human face carved into the extraterrestrial rock. From its atypically melodic, almost Floydian introduction, through the floating Krautrock mid-section to the kick-in-the-scrotum finale, this is quintessential Farflung, and worth the repetition of a bonus demo version, which adds B-movie sci-fi sound samples and a curious band dialogue.

"Farflung never actually sat down and wrote songs", said guitarist Tommy Grenas in a 2003 interview. "We always would get blasted and just jam..." an amusing observation, but not entirely true. There's an energy and focus here not often found in outer space, and the music carries too much residual booster-power for the Stoner Rock image the band likes to cultivate.

That same casual attitude, combined with an equally informal personnel roster, may have denied them the rewards of wider commercial success. But cult groups like Farflung are better suited to a surreptitious, below-the-radar flight plan anyway, and on this initial lift-off their trajectory was sure.

 Handlingnoise by HANDLINGNOISE album cover Studio Album, 2012
3.50 | 2 ratings

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Handlingnoise
Handlingnoise Psychedelic/Space Rock

Review by Matti
Collaborator Neo-Prog Team

3 stars A thank you goes to the band for kindly sending me a promo copy. Even though I'm not as enthusiastic about this album as Damo, I'm glad of the opportunity to inform you of HANDLINGNOISE. The band members choose to stay anonymous. This debut album, the only release this far, consists of six tracks, most of them around 8-9 minutes in length.

'El Topo' featuring a powerful, heavy percussion sets the mood very effectively and drags the listener into a psychedelic maelstrom, an unnamed no-man's land where the line between being awake and asleep gets blurred. The final percussion-free minute of it can be best described as Dark Ambient.

Noise, metallic and experimental are other tags used, and I add Post-Rock to the list. Not the most familiar subgenre to me, I pick up bands such as MAGYAR POSSE (also from Finland), BATTLESTATIONS, SIGUR RÓS and GY!BE in hope to give some clue of the rather abstract, edgy and alienated wall-of-sound. Sure this music averagely gets much heavier and more psychedelic than the mentioned, but there's something familiar from that subgenre. I think the handling of the human voice is also pointing towards Post-Rock. They are like distant wailings, one can't really hear the words properly, which must be deliberate.

Some of the track titles are a bit amusing ('Son of Ugly Box', 'Funny Paper Faxmachine', 'God Bless the Poor Bankers'), which brings some perplexing contrast to the dark and sinister mood. On the other hand all the titles are close to the abstract meaninglessness, not willing to steer the listener's imagery very much into any specific direction. The band could have chosen not to name the tracks either, but it's always more convenient to have the titles. Recommended to those who fancy Post-Rock, hard-edged experimental instrumental rock and Dark Ambient all packed tightly together.

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Psychedelic/Space Rock bands/artists list

Bands/Artists Country
3 LEAFS United States
35007 Netherlands
3RD EAR EXPERIENCE Multi-National
THE 4 LEVELS OF EXISTENCE Greece
ABUNAI! United States
ACID FLORIANI Russia
ACID MOTHERS TEMPLE Japan
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
CRIPPLED BLACK PHOENIX United Kingdom
CRONOMAD Mexico
CROW United Kingdom
CRUMBLING GHOST United Kingdom
CUCUMBER FARMER Finland
CUZO Spain
D SOUND Hungary
D'ARCANA United States
DARK BUDDHA RISING Finland
DARK SUN Finland
DARXTAR Sweden
DASPUTNIK Finland
DATETENRYU Japan
ALAN DAVEY United Kingdom
DAY OF PHOENIX Denmark
DAY SHIFT United Kingdom
DE CRONOPIOS Argentina
DEAD MEADOW United States
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
HOLLOW MIRRORS United States
HOLY RIVER FAMILY BAND Sweden
HONDURAS LIBREGRUPO Argentina
HOTEL WRECKING CITY TRADERS Australia
HOUSE OF NOT Canada
HOWLIN' MAGIC United States
HUMAN FACTOR Russia
HUMANOID Canada
HUMUS Mexico
HUNDOS United States
HYPNOS 69 Belgium
I.E.M. United Kingdom
ICI MAINTENANTS United Kingdom
ID United States
IGRA STAKLENIH PERLI Yugoslavia
IKIHEVONEN Finland
DJORDJE ILIJIN Yugoslavia
IMANISSIMO Indonesia
IN A NUTSHELL Russia
IN ZAIRE Italy
INCANDESCENT SKY United States
INOMATA TAKESHI & SOUND L.T.D. Japan
INSIDER Italy
INSTANT FLIGHT Multi-National
INTERKOSMOS Austria
INTERNATIONAL HARVESTER Sweden
THE INVISIBLE BAND! United Kingdom
INVISIBLE OPERA COMPANY OF TIBET (BRAZIL) Brazil
ION QUEST United States
LA IRA DE DIOS Peru
IT'S NOT NIGHT: IT'S SPACE United States
IVORY Germany
IXTHULUH Austria
J. A. CAESAR Japan
JACKO WACKO Peru
JACKS Japan
ANDY JACKSON United Kingdom
JADE France
JADE WARRIOR United Kingdom
THE JELLY JAM United States
JESUS WITH ME United States
JOY HEIGHTS Japan
JUKE France
JUUDAS ISKARIOTIN SUUDELMA Finland
KAARNA Finland
KALUTALIKSUAK Russia
KANZEON Japan
KARMA CANON United States
KARMIC SOCIETY Germany
KARUNA KHYAL Japan
ROSE KEMP United Kingdom
PAUL KIDNEY EXPERIENCE Australia
KIKAGAKU MOYO Japan
KIKI PAU Finland
KILL FOR TOTAL PEACE France
KILLFLAVOUR Germany
KING SUFFY GENERATOR Italy
KINGBATHMAT United Kingdom
KINGSTON WALL Finland
KINSKI United States
KIRUNA Norway
KLAR Czech Republic
KNALL Germany
PASI KOIVU Finland
KORAI ÖRÖM Hungary
ERKIN KORAY Turkey
KOSMOS Canada
KOUSOKUYA Japan
KOZMIC MUFFIN Spain
KRAUTZONE Germany
KREL United Kingdom
KROM LEK United Kingdom
KUNI KAWACHI TO KARE NO TOMODACHI Japan
KVASAR Spain
LA OTRACINA United States
LAGHONIA Peru
LANDING United States
LANDS END United States
LAVA Sweden
LAY LLAMAS Italy
LE MUR Germany
LEGENDARY PINK DOTS United Kingdom
LEMMUS LEMMUS Israel
LEMONADE INFLUENCE Greece
SELIM LEMOUCHI AND HIS ENEMIES Netherlands
LENIN Argentina
LENINGRAD BLUES MACHINE Japan
LES RALLIZES DENUDES Japan
LIQUID SOUND COMPANY United States
LIQUID VISIONS Germany
LITMUS United Kingdom
LIZARDS EXIST Croatia
LOCH NESS Mexico
LONDON UNDERGROUND Italy
THE LONGEST DAY Australia
LOOP United Kingdom
LOVE LIVE LIFE + ONE Japan
LÜGER Spain
LUMERIANS United States
LUNAR DUNES United Kingdom
MAAT LANDER Russia
THE MACHINE Netherlands
MACONDO Peru
MADEMOISELLE MARQUEE United Kingdom
MICHEL MADORE Canada
MAGIC LANTERN United States
MAGIC MUSCLE United Kingdom
MAGICAL POWER MAKO Japan
MAGNOG United States
MAINLINER Japan
MAJUTSU NO NIWA Japan
MAMMAL MACHINE Japan
MAMMATUS United States
MAN United Kingdom
THE MANDRAKE MEMORIAL United States
MANTA RAY Spain
MANTRIC MUSE Denmark
MAPPE NOOTICHE Italy
MARBLE SHEEP Japan
MARGIN Germany
ALAIN MARKUSFELD France
MARS EVERYWHERE United States
MARS RED SKY France
MARY NEWSLETTER Italy
MÁSFÉL Hungary
MASTER MUSICIANS OF BUKKAKE United States
MELTING EUPHORIA United States
MERKABAH Poland
MESS Estonia
MESSAGE Germany
MIDDAY VEIL United States
MIDNIGHT ZOMBIE ALLIGATOR Spain
MIJA United States
MILES FROM PANGAEA United States
MILO BLACK United Kingdom
MIND! Spain
MISTY MOUNTAIN FOUNDATION Finland
MOBY TRIP New Zealand
MOHODISCO United States
MOLECULE France
MONDO DRAG United States
MONKEY3 Switzerland
MONOMYTH Netherlands
MOOCH United Kingdom
MOON DUO United States
MOON FOG PROPHET Finland
MOON PHANTOMS Multi-National
MOONWAGON Finland
THE MOOR Sweden
MOTHER GONG United Kingdom
MOTHER OF FIRE United States
MOTHER-UNIT Netherlands
MOTHERSHIP United States
MOTHERSHIP ORACLE United Kingdom
THE MOVEMENTS Sweden
MR QUIMBY'S BEARD United Kingdom
MUGSTAR United Kingdom
MUSHGOONS Italy
MUSHROOM United States
MUSHROOM GIANT Australia
MUSIC EMPORIUM United States
OS MUTANTES Brazil
MY BROTHER THE WIND Sweden
MY SLEEPING KARMA Germany
MYRIAD Australia
THE MYRRORS United States
NAAM United States
NAKED ELF United States
NANGYALA Netherlands
NAPATISTA United States
THE NARCOTIC DAFFODILS Belgium
LOS NATAS Argentina
NEGATIVE ZONE France
NEKTAR United Kingdom
NEMRUD Turkey
GIORGIO C. NERI Italy
NIMBUS Finland
NNECRA PACKE France
NO MAN'S LAND Greece
NO-MAN United Kingdom
NODENS ICTUS United Kingdom
NOETICS Germany
NOPE United Kingdom
NOSOUND Italy
NOSTRADAMUS THE TANK ENGINE United States
NUDITY United States
NUKLI United Kingdom
NUMINOUS EYE United States
NYL France
O CORVO MUDO Portugal
OATS United States
OBSKURIA Multi-National
OC FEEF United States
OCEANSIZE United Kingdom
OCTOPUS United Kingdom
OCTOPUS Germany
OCTOPUS SYNG Finland
OHEAD United Kingdom
OKTA LOGUE Germany
OLE LUKKOYE Russia
OMEGA Hungary
OMENOPUS United Kingdom
OMNIA OPERA United Kingdom
ONE OF THESE DAYS & THEE HEAVY RANDOM TONE COLOUR LAB Spain
ONE SWITCH TO COLLISION Multi-National
ONEIDA United States
ORANGE SHADING STARLIGHT Italy
ORANZADA Poland
ŘRESUND SPACE COLLECTIVE Multi-National
ORGANIC IS ORGASMIC Russia
ORION'S BEETHOVEN Argentina
THE OSCILLATION United Kingdom
OSIRIS THE REBIRTH United Kingdom
THE OUTERSPACE MILKMEN Multi-National
THE OVALS Australia
OXHUITZA Italy
OZRIC TENTACLES United Kingdom
TA PAICHNIDIA TOU ILIOU Greece
THE PANCAKES Germany
PANTA REI Sweden
PAPIR Denmark
PARADISE 9 United Kingdom
PARADOX United Kingdom
PARALLEL OR 90 DEGREES United Kingdom
EL PÁRAMO Spain
PÉLOQUIN-SAUVAGEAU Canada
PEOPLE Japan
PEOPLE OF THE NORTH United States
PERIZONA EXPERIMENT Italy
PHARAOH OVERLORD Finland
PHLOX Malaysia
PILOTOCOPILOTO Peru
PINK FLOYD United Kingdom
LA PIRAMIDE DI SANGUE Italy
PLASTIC OVERLORDS United States
PLJ BAND Greece
POLSKA RADIO ONE Russia
POLTERGEIST United Kingdom
POLYPHONY United States
POLYTOXICOMANE PHILHARMONIE Germany
POND Australia
POSEIDON Germany
PRE-MED United Kingdom
PRIMORDIAL UNDERMIND United States
PRISMA Germany
PROJECT MOONBEAM United States
PSEUDO SUN Sweden
PSI CORPS Russia
PSYCHATRONE RHONEDAKK United States
PSYCHE BUGYO Japan
PSYCHEDELIC WARRIORS United Kingdom
PSYCHIC ILLS United States
THE PSYCHIC PARAMOUNT United States
PUBLIC FOOT THE ROMAN United Kingdom
PURPLE OVERDOSE Greece
PUSSY United Kingdom
PYRAMIDAL Spain
PYRAMIDION United Kingdom
QOPH Sweden
QUANTUM FANTAY Belgium
QUARKSPACE United States
QUEEN ELEPHANTINE United States
RA CAN ROW United States
RĹD KJETIL AND THE LOVING EYE OF GOD Sweden
RADAR MEN FROM THE MOON Netherlands
RADIOMOBEL Sweden
RAGNAROK New Zealand
MARCO RAGNI Italy
RAINY SEASON Russia
RAPTOR KONRAD Czech Republic
RARA AVIS IN TERRIS France
RAVEN SAD Italy
THE RE-STONED Russia
REALEAF Israel
THE RENDLESHAM FOREST INCIDENT United States
THE RESONANCE ASSOCIATION United Kingdom
RHYTON United States
RINSE. REPEAT. United States
RODOTOTOED Mexico
ROOT United Kingdom
THE ROOTS OF ECHO Sweden
ANDREW DOUGLAS ROTHBARD United States
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