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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 | 3098 ratings
WISH YOU WERE HERE
Pink Floyd
4.59 | 3278 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 2763 ratings
ANIMALS
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4.31 | 2323 ratings
MEDDLE
Pink Floyd
4.23 | 786 ratings
OCEAN
Eloy
4.16 | 291 ratings
RITUAL
Nemrud
4.10 | 485 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.11 | 337 ratings
JURASSIC SHIFT
Ozric Tentacles
4.13 | 231 ratings
LEGACY
Hypnos 69
4.13 | 210 ratings
TOGETHER WE'RE STRANGER
No-Man
4.05 | 2252 ratings
THE WALL
Pink Floyd
4.05 | 420 ratings
A TAB IN THE OCEAN
Nektar
4.18 | 103 ratings
THE FUTURE KINGS OF ENGLAND
Future Kings Of England, The
4.04 | 464 ratings
DAWN
Eloy
4.15 | 124 ratings
BY THE WATERS OF TOMORROW
Vespero
4.05 | 403 ratings
THE OCTOPUS
Amplifier
4.06 | 249 ratings
EFFLORESCE
Oceansize
4.22 | 70 ratings
TAKO
Tako
4.02 | 478 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy
4.05 | 242 ratings
EVERYONE INTO POSITION
Oceansize
4.04 | 266 ratings
FRAMES
Oceansize
4.00 | 366 ratings
PLANETS
Eloy
4.11 | 106 ratings
KINGSTON WALL II
Kingston Wall
4.33 | 41 ratings
OBSOLETE
Hedayatt, Dashiell
4.01 | 231 ratings
ERPLAND
Ozric Tentacles
4.13 | 85 ratings
PARALLEL WORLD
Far East Family Band
3.98 | 381 ratings
THE BLACK CHORD
Astra
3.98 | 341 ratings
HALL OF THE MOUNTAIN GRILL
Hawkwind
4.12 | 73 ratings
O 'A' E O 'Z'
Mutantes, Os
4.00 | 167 ratings
I WASH MY SOUL IN THE STREAM OF INIFINITY
My Brother The Wind
4.00 | 154 ratings
DEAD AIR FOR RADIOS
Chroma Key
4.06 | 87 ratings
JOURNEY
Brown's Kingdom Come, Arthur
4.03 | 100 ratings
ESPECTRO
Violeta De Outono
4.18 | 47 ratings
LIQUID
35007
4.14 | 53 ratings
BURNING OFF IMPURITIES
Grails
4.06 | 73 ratings
TRI-LOGY
Kingston Wall
4.12 | 55 ratings
IMPRESSIONABLE SOUNDS OF THE SUBSONIC
First Band From Outer Space
3.89 | 1516 ratings
THE PIPER AT THE GATES OF DAWN
Pink Floyd
4.18 | 44 ratings
U VRECI ZA SPAVANJE
Tako
4.10 | 59 ratings
TRIP TO INNERSELF
Siddhartha
4.16 | 47 ratings
THE GUITAR IS MIGHTIER THAN THE GUN
First Band From Outer Space
3.94 | 182 ratings
LEVITATION
Hawkwind
4.04 | 75 ratings
SURPASSING ALL KINGS
Vespero
4.14 | 48 ratings
IGRA STAKLENIH PERLI
Igra Staklenih Perli
4.03 | 78 ratings
TUDO FOI FEITO PELO SOL
Mutantes, Os
4.17 | 41 ratings
MANTRIC MUSE
Mantric Muse
4.21 | 34 ratings
FANTASTIC FREAK SHOW CARNIVAL
KingBathmat
3.94 | 129 ratings
CURIOUS CORN
Ozric Tentacles
3.98 | 94 ratings
BRIDGES OF KUKURIKU
Quantum Fantay
3.86 | 1666 ratings
ATOM HEART MOTHER
Pink Floyd
4.36 | 24 ratings
LIZARDS EXIST
Lizards Exist
3.88 | 369 ratings
REMEMBER THE FUTURE
Nektar
4.11 | 47 ratings
THE BLACK TOMATO
Øresund Space Collective
3.95 | 116 ratings
THE HIDDEN STEP
Ozric Tentacles
3.89 | 255 ratings
THE WEIRDING
Astra
4.13 | 43 ratings
AHORA MAZDA
Ahora Mazda
4.76 | 13 ratings
PSYCHO ERECTUS
Polytoxicomane Philharmonie
3.90 | 176 ratings
(MANKIND) THE CRAFTY APE
Crippled Black Phoenix
3.91 | 166 ratings
ARBORESCENCE
Ozric Tentacles
4.46 | 19 ratings
ØRESUND SPACE COLLECTIVE
Øresund Space Collective
3.97 | 88 ratings
SYMBIOSIS
Hidria Spacefolk
3.87 | 293 ratings
TIME TO TURN
Eloy
3.93 | 119 ratings
FLOWERMOUTH
No-Man
4.03 | 58 ratings
TIME ROBBER
Omega
4.04 | 57 ratings
WITHOUT INTRODUCTION
Polyphony
3.98 | 78 ratings
HÖGTID
Agusa
4.14 | 37 ratings
MASTER
Teeth Of The Sea
3.96 | 86 ratings
SUBKRAUT: U-BOATS WILLKOMMEN HIER
Vespero
3.89 | 173 ratings
STRANGEITUDE
Ozric Tentacles
3.95 | 88 ratings
UGISIUNSI
Quantum Fantay
3.92 | 122 ratings
JOURNEY OF THE SHAMAN
Nemrud
3.91 | 120 ratings
RETURNING JESUS
No-Man
3.86 | 190 ratings
ECHO STREET
Amplifier
4.25 | 24 ratings
THE RESURRECTIONISTS
Crippled Black Phoenix
3.94 | 75 ratings
LONG DISTANCE TRIP
Samsara Blues Experiment
4.01 | 48 ratings
LEVIATHAN
Annot Rhül
4.09 | 35 ratings
AQUELARRE
Aquelarre
4.09 | 35 ratings
FORCE MAJEURE
Solar Project
3.89 | 97 ratings
SOL29
NoSound
4.13 | 30 ratings
2009
Korai Öröm
4.05 | 38 ratings
MOTHER FROM THE SUN
Ragni, Marco
3.96 | 59 ratings
THE VIEWING POINT
Future Kings Of England, The
3.90 | 82 ratings
TERRAGAIA
Quantum Fantay
3.98 | 47 ratings
INTERGALACTIC ART CAFE
StereoKimono
3.84 | 132 ratings
WATERFALL CITIES
Ozric Tentacles
4.04 | 36 ratings
SUMMER SESSIONS VOL. 1
Causa Sui
3.92 | 66 ratings
200 YEARS AFTER THE LAST WAR
Omega
3.84 | 140 ratings
DEEP POLITICS
Grails
4.00 | 41 ratings
THE MARIA DIMENSION
Legendary Pink Dots
3.84 | 125 ratings
LIGHTDARK
NoSound
3.88 | 78 ratings
FRAMTIDEN AR ETT SVAVANDE SKEPP, FORANKRAT I FORNTIDEN
Algarnas Tradgard
3.92 | 56 ratings
THE FATE OF OLD MOTHER ORVIS
Future Kings Of England, The
4.09 | 27 ratings
IN TIME
Solar Project
3.92 | 55 ratings
MUTANTES
Mutantes, Os
4.04 | 31 ratings
BLUE CATHEDRAL
Comets on Fire
4.08 | 27 ratings
PAIX
Alpes & Catherine Ribeiro
3.79 | 227 ratings
OCEAN 2: THE ANSWER
Eloy
3.98 | 39 ratings
A MATANÇA DO PORCO
Som Imaginário
3.94 | 45 ratings
DELAYED
Algarnas Tradgard
3.97 | 39 ratings
FOYERS OF THE FUTURE
Moonwagon

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

THE SUITE
Analogy
THE BLACK TOMATO
Øresund Space Collective
BABY GRANDMOTHERS
Baby Grandmothers
THE XENON CODEX
Hawkwind

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Latest Psychedelic/Space Rock Music Reviews


 III by DEEP SPACE DESTRUCTORS album cover Studio Album, 2014
3.60 | 12 ratings

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III
Deep Space Destructors Psychedelic/Space Rock

Review by Matti
Collaborator Neo-Prog Team

3 stars The third album by the Northern Finnish space rock trio features also Olli Niemitalo on black deck (I presume it means electronics). If the second album's Art Nouveau styled cover art wasn't exactly suitable to the music, as good-looking as it is, the wild, literally head-exploding, rainbow coloured, nightmarish front picture of III is doubtlessly closer to the essence of this Psychedelic Space Rock that can be referred as heavy stoner rock too.

The opening track 'Beyond the Black Star' (the shortest of the five) is really pure and satisfying Space Rock: it has a sharp edge and rock power, but the hardness doesn't take over the spaceyness. The vocals, which to me are the weak link of this band, appear only slightly in the background and without lyrics. The next 9-minute song has a lot of those blurry, angry vocals I'm not fond of at all. Luckily the instrumentally oriented slower section starting in the middle improves the track notably.

'Cosmic Burial' has a deeply psychedelic instrumental intro, reminding me of Saucerful of Secrets era PINK FLOYD, until the heavier sound and the vocals enter. I guess one has to enjoy Heavy Rock not to be disappointed with these elements on DSD's music. 'An Ode to Indifferent Universe' is the longest track (15:12) and also the most progressive. The vocals are not so blurry, and the less-heavy playing has a spacey atmosphere. The rhythm patterns are quite variable too.

The final, Finnish-language track 'Ikuinen alku' (= Eternal Beginning) starts with a brief, preaching speech about our planet's doom. The song itself is not among the highlights. Well, I guess as a whole this one isn't clearly better than the second, even if there are stronger moments. Surely this can be recommended for friends of hard-rocking Psych/Space that don't mind unsophisticated vocals.

 Hollywood by CIRCLE album cover Studio Album, 2008
2.30 | 8 ratings

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Hollywood
Circle Psychedelic/Space Rock

Review by Matti
Collaborator Neo-Prog Team

2 stars There's a sticker on this CD saying "Exciting new band from Finland", which of course isn't true. CIRCLE has existed since the early 90's and their discography is huge. But that lie is something one might expect from a band which has e.g. switched band names temporarily with another band (FALCON), and is about to release an album titled Pharaoh Overlord, the same day as their brother band PHARAOH OVERLORD releases an album titled Circle.

However the line-up on this album was new and one-off. On vocals, lead guitars and dulcimer is an American long-term musician Bruce Duff. His voice has been compared to Tom Waits and Captain Beefheart (though he's sort of stingy instead of equally rough); I'd add Tom Petty and Bruce Dickinson. That collaboration makes Hollywood a unique Circle album. I can't say Circle in general would be among my favourites, but this one is certainly not up to my taste, mainly because I don't like Duff as a vocalist. And vocals are here in an essential role unlike on most of Circle albums.

'Connection' is a rocking fast-tempo opener, perhaps among the most efficient tracks even if not exciting or having much to do with Psychedelic/Space Rock, just like this album in general. Nearly 8-minute 'Mercy and Tuesday' is repetitive and built on a riff (a feature very familiar in Circle's music), but the instrumental latter half has quite nice twangling of acoustic guitars. 'Earthworm' is a sped-up heavy rocker with a fiery electric guitar solo and a hint of hypnotic Krautrock, but very straight-forward 'Sacrifice' is nothing but a cheap BLACK SABBATH clone.

Slower 'Spam Folder' (8:12) gives slightly more space to Mika R'tt''s minimalistic keyboards. Without Duff's vocals this would be closer to the hypnotic essence of Circle, now it's mostly just boring and too long. 'Hard to Realize' is "an acoustic gospel-blues", extremely dry in sound - actually dry is a good adjective for the whole album. 'Madman' lasts for 15 minutes, the monotonous, riff-based playing offering a background for Bruce Duff's storytelling. The two last lines of each verse end with the word Madman. The way the instrumental final section increases the speed and intensity is good, but frankly the track is seriously too long. Also 'Suddenly' is an extended track (11:33) even if it's basically quite monotonous Heavy/Hard Rock.

If you enjoy the Heavy Rock side of CIRCLE and a Tom Waits reminding vocalist sounds like a suitable addition into their riff-based monotony, this is your album, but otherwise most likely not.

 Signal To Noise by JACKSON, ANDY album cover Studio Album, 2014
4.00 | 3 ratings

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Signal To Noise
Andy Jackson Psychedelic/Space Rock

Review by tszirmay
Special Collaborator Crossover Team

4 stars If fans were disappointed or not with Pink Floyd's The Endless River, well it turns out that long-time and still current PF engineer and knob twirler Andy Jackson has a little surprise for you! The album is called "Signal to Noise" and please be prepared for a scarce sonic ride that will shock your senses in the most interstellar way possible, a strange brew of classic 60s psychedelic and modern accoutrements.

Murky, atmospheric and loaded with those peculiar monotone vocals that made the Flying Pig such a draw, the opaque electronics are marshaled by a thrilling bass that is very much in Waters' style, thick and meaty. Truth is this recording is not as overtly Floydian than some other bands out there, as Jackson gives the music some serious edgy qualities which the recent Gilmour-led band has long ago abandoned to more silky meadows. From the menacing pounding of "The Boy in the Forest" that kicks off the album, and the following tracks that seem to bleed into the other, there is a focused sense of mayhem that seeks to exalt and extol the virtues of space-rock, plodding and most ominous indeed. On the vital "One More Push" there is even a little hint of The The (Do you remember "Gravitate to Me"?, yeah, oily Floyd!) as well as some of the other post-punk, goth and psychedelic bands, like The Church, so again this will be an eye and ear opener for those who dare. Because it's a producer album, one might fear an over-polished set-list of a too clever noise factory but the bass-fueled grittiness is simply delirious. Yes there is a tremendous Gilmourian solo on "Spray Paint" but the majority of the tracks retain a veil of smoky gloom that is utterly attractive, with way darker interferences than one would expect, luminous shades loaded with hissing and crackling sounds, glittering distortions and see-saw rhythms. Despondent vocals abound, echoed in soporific film, flavored with marshmallow twinkle and floating purple ponds, as a meddling guitar slices through the obscured clouds.

Though all the tracks are uniformly noncommercial and hence outstanding, the apoplectic "Brownian Motion" takes the proverbial cake, left over icing included, a swerving, monstrous, cacophonous wretch that consumes loads of Bauhaus, The Danse Society and Joy Divison psychosis , layered all over its entrails, coiling, seething and flicking its venomous tongue at all who dare approach.

There is an island in the endless river, a foreboding place shrouded in mist, emitting a highly audible signal to noise. The album packaging and artwork are, as one would expect, enigmatic and thrilling.

4.5 clatter signs

 Graveyard Mountain Home  by CHROMA KEY album cover Studio Album, 2004
3.71 | 69 ratings

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Graveyard Mountain Home
Chroma Key Psychedelic/Space Rock

Review by TCat
Prog Reviewer

3 stars It is an interesting concept to take a public domain movie and slow it down to half speed, and then write a soundtrack over it. This is what Kevin Moore (Dream Theatre, OSI) has done on this album. Sounded interesting enough to me to investigate further. Other Chroma Key albums that I have heard were too plain and I have never been a fan of the vocals in OSI, but the concept sounded interesting enough.

What you get here are some electronic musings, some with vocals and some without. I appreciate what he was trying to do here, but for some reason, these tracks just don't have the same effect on me as, say, listening to a Vangelis or Tangerine Dream album. This is basically Kevin's take on that type of music. There is some experimentation, ambience, and so on, but what comes out of this venture is some pretty straightforward electronic music that comes close to space or psychedelic rock. There is some beauty here, but there is a lot of repetition that doesn't really prove anything. It seems, for the most part at least, there is a lot of sound, but not a lot of substance. It sounds like a first try at electronic music, even though it is well produced, it sounds a bit like what it is....someone trying their hand at electronica.

I suppose I'm not that big of a fan of Kevin's style, but I'm telling it from my own "audio viewpoint". The vocals once again, don't do anything for me, and the stylings here just aren't adventurous enough. It is at least a good attempt at expanding his sound, but in trying to create something new, at least with this attempt, it just seems he tried and didn't quite make it.

I had hopes for this one after reading about it and being a fan of explorative and inventive music. Maybe, with time, things will improve, but I'm still not convinced that Chroma Key or OSI is top notch material. At least, Kevin has the sense of adventure with this one. 3 stars...because there is a lot of music out there that is so much better, but at least he is trying.

 Hightower by EQUATIONS album cover Studio Album, 2015
3.95 | 2 ratings

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Hightower
Equations Psychedelic/Space Rock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars EQUATIONS are a new promising prog band hailing from Porto, Portugal. Their second album shows rather eclectic tendencies, while mixing up progressive psychedelic/space with some distinct art rock varieties. 'Hightower' was released on the fine Portuguese Lovers & Lollypops label at the beginning of 2015 and offers eight entertaining songs. Yes, this sounds fresh and innovative overall. Consequently I gave the self-titled album from 2012 a listen too, just wanted to know more about the band's musical development. While mirroring a somewhat wild and rebellious approach, this debut is, at least technically seen, definitely appealing, though with a concept behind that reminds me of Mars Volta a lot.

Not my cup of tea that much regarding this presentation, but basically they have preserved the heavy rocking attitude, which is a benefit in any case. Another special is Bruno's vocal appearance, which takes getting used to somehow, has evolved for sure when taking the new one in consideration. Although still interestingly high-pitched here and there, for example on Slow Trials. Obviously way more accessible here on 'Hightower', and so due to the vocals exactly the opener Afterlights and the following Ascent appear somewhat 60's psychedelia drenched on one side. On the other hand though, as already noticed before, they show up a way more heavier rocking drive as usually known from the 'old days'.

And we also should take into account that not only the standard rhythm instruments are the driving force, overall the outstanding keyboard/synth input is really varied, not that genre typical, while the guitars are not reduced on an echoing space habit solely. So much for the band's sovereignty. You see, not a band which is limited to a narrow context music-wise. Furthermore it's a challenge to name some favourite excerpts, this is an album which appeals all the way through. However, I really like Echoing Green - a mid-tempo song featuring unusual tribal drums, looping synths and very melancholic guitars. If I should name bands similiar in sound, only Australian's Alithia come into my mind. 'Hightower' is a very interesting album, offers more than a standard psych/space genre output.

 In Time by SOLAR PROJECT album cover Studio Album, 1997
4.09 | 27 ratings

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In Time
Solar Project Psychedelic/Space Rock

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars The couple of years that SOLAR PROJECT took to create their fourth album IN TIME was productive. This album takes a lot of the creative ideas they displayed on "The House Of S. Phrenia" and toned down the blatant influences a bit. Not totally, the Pink Floyd influence is still the dominant feature here but this time around they create new ways of taking the Floydian space rock moods and sounds and tweaking them into new arenas. It is still totally recognizable but interesting in the approach. I also find the vocals to be much better this time around with lots of vocalists contributing to the album which really makes this feel like a PROJECT.

IN TIME has no less than six lead and two backing vocalists, two bassists, a flautist, guitarist, drummer and two keyboardists, one being totally dedicated to the Hammond organ. This is definitely retro classic prog here but it is totally updated for 90s consumption with very good production qualities and nice creative ways of changing things up. It actually reminds me of The Mars Volta in that regard and at times like on "Crime Time" even the vocals remind me of that band. One of the strongest qualities of this album is that most tracks keep things interesting with novel ways of adding twists and turns but the music never overwhelms as this is psychedelic space rock in its nature and never an eclectic speedfest. There are a few times where there are energetic outbreaks with heavy guitar and ELP keyboard runs but sparingly.

I like most of the tracks on here but i have to mention the monster behemoth of a closer "Time To Die." This one is confusing because on the CD it says "Time To Die (Part 1-6)" and then the following closer is "Time To Die (Part 2)" however these are all divided up into tracks 6-12. I pretty much like the album up to the point where this lengthy series of tracks which actually seem totally unrelated other than lyrical content. I do like the majority of these but it's in the midst of the "Die" tracks that i find some of the weak filler rearing their ugly heads marring an otherwise very strong album. The range of styles incorporated without making anything feel forced is really noticeably impressive.

Overall, this is a very welcome step up from the previous album. I am definitely sold on this band and am amazed that it is not very well known as there are scant few reviews and very little info in general on the internet. The musicianship is actually quite proficient and since my main complaint about the previous album was the mediocre vocals and overuse of Floydian worship, i can shout in glee that this album solves those problems for the most part. As stated, when Floydian influences occur, they do so in different styles and tempos and even time signatures. This band deserves a little more recognition. Not a long lost masterpiece but IN TIME is definitely a very well constructed prog album that warrants multiple listening experiences. This one should definitely please retro progheads who like some creative liberties but not to the point where it inhibits the retro mood that is intended.

 I, Vigilante by CRIPPLED BLACK PHOENIX album cover Studio Album, 2010
3.59 | 85 ratings

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I, Vigilante
Crippled Black Phoenix Psychedelic/Space Rock

Review by MELNIBONÉ

4 stars I usually pay a lot of attention to album packaging, and not only because it's a Prog trademark to link tightly sleeve design and musical/lyrical content? but also because it's a substantial part of the price we pay for CDs. So, in the case of "I, Vigilante", I have to admit that, when I ordered this album, I had no idea whatsoever about its content, nor did I knew anything about Crippled Black Phoenix (since then my wife and I have come to like them a lot). I simply was attracted by its cover art. Since he was a very young kid, our son has always drawn ; quite early, he put aside his crayons and markers to use a pencil and, later on, pen and ink. It's called line drawing (or line art) and, up until his late teens, he seldom used any other technique. Even though nowadays, he draws and paints with other mediums, including computerized ones (he works as a UI artist for a video game company), from time to time, he comes back to what set him initially on his present course. That said, the German shepherd pictured on the sleeve obviously owes a lot more to printing techniques than to line drawing per se. But still, the vivid expression of the attack dog was what prompted me to buy the album in the first place, because it matched some wolf drawings my son had made years ago.

Then, after the record was delivered and I could do more than just admire the cover art, I ran through the booklet and discovered that the album was a reflection on politics, justice (and injustice) and war, with a special focus on World War II. And that plucked a string I wasn't expecting at all : I would never have thought that, in 2010, a band under the Psychedelic/Space Rock label would have been inspired to write about a war that ended before the middle of the previous century. Since I have been a history teacher for some time, it goes without saying that, even before listening to the album, I had an even greater interest to read the lyrics to learn how the band dealt with such a complex subject and what they had to say about after the event 65 years later.

Although the sleeve, the booklet and the CD itself show illustrations related to WW II, there are some pictures that don't seem relevant to the subject, such as a drawing of a fawn and an ibex at rest amid a nest of snakes on the inside back cover of the booklet and, on the back cover of the sleeve, a drawing of an owl with a third eye on its forehead. They might not seem relevant at first, but the first drawing could make sense symbolically (figures of innocence amid vipers), while the second one could be a metaphor of vigilance, forethought and wisdom. If so, then these images have a relevant meaning in view of the album content.

That said, the first song, "Troublemaker" (8:33), is not at all related to WW II, but instead to the 1605 Gunpowder Plot, the failed attempt against King James I of England and the Parliament in London by Catholic conspirators (among which were Robert Catesby and Guy Fawkes). As for the music, well, it owes a lot to Pink Floyd, but that doesn't make it less authentic. To be original, musicians don't have to shed their influences or pretend they don't have any (which is impossible, since we always stand on the shoulders of others). Originality is how you use influences and your own experiences/tastes/leanings to express what you feel is best to convey the music and the lyrical content it carries. And, on that account, CBP deliver their own.

"We Forgotten Who We Are" (10:47) dwells on the fact that men don't seem to learn much from history : "As men make their own history, still they know we are chained / and bound by all the past traditions of dead generations [?] 'Those who cannot remember the past are condemned to repeat it', / to quote George Santayana". The song opens with Daisy Chapman's piano taking the lead. It's a light melody, with a touch of melancholy or sadness that becomes heavier when the rythm section and voice join in. As it happens elsewhere on the album, CBP use the music as a counterpoint or contrast to the lyrics. At mid-point, Danny Ashberry's Hammond and synth move along with the piano to push the melody on a grander or more ominous trajectory, opening on a vista that suggests that things have yet to be resolved. The end sees the piano tiptoeing again, but in a more reflective way than before, and then the guitar wails in, as if asking desperately for a resolution of the matter? but that one is still out of reach.

"Fantastic Justice" (7:54) is a bitter commentary on truth, betrayal and death. There is almost no gap between the previous song and "Fantastic Justice" and, since the opening piano part is quite similar to that of "We Forgotten Who We Are", the first impression is that we have a twofold song rather than two different tracks. Again, there's a Pink Floyd atmosphere, but this time, with the insisting piano ritornello and bluesing/rocking guitar in the back, it gets heavier, but then the piano and martial drumming tamper things down, until the song soars again. When female and male voices mix in, there is a feeling which evokes present day Mostly Autumn. The finale, sustained by the piano ritornello, is both grand, a bit more upbeat and anthemic.

"Bastogne Blues" (12:01) is about the siege of the Belgian city in December 1944 during the Battle of The Bulge. On the 15th, the German army started its multi-pronged push and US troops (outnumbered 5 to 1) had to retreat around Bastogne, only to be relieved on the 27 th, when elements from George Patton's Third Army finally broke the encirclement. The lyrics tell parts of the story, as seen from a soldier on the frontline ; it's both an ode to courage and a denunciation of horrors committed (among which the slaughter of 84 unarmed American prisoners of war by the Waffen-SS at Malmedy on the 17 th). It could've been a sad and doom/gloom piece, but it is instead arguably the most beautiful song on the album. It's a simple, romantic and Country-tinged ballad, acting as a brilliant counterpoint to the lyrics. Its main melody becomes both grand and cinematic in the finale when it soars and seem to encompass the whole battlefield area. As if the sky was clearing at last after days of harrowing bad weather and even worse pummeling by the enemy. As if we were now in the cockpit of a P-51 Mustang fighter aircraft (just like the one pictured on the CD itself) and able to see the German army retreat and envision its eventual defeat in the months to come. As a footnote intended for those who are familiar with the folk rock scene in Québec in the '70s, I would point out that the main melody in "Bastogne Blues" is quite reminiscent of the 1974 major hit, "La Complainte Du Phoque En Alaska" by Beau Dommage.

"Of A Lifetime" (6:45) The song is a cover of the hit from Journey's eponym and prog album of 1975. Since I didn't know the song previously, I cannot compare it to the original. It's the most psychedelic track on the album, alternating soft rock female singing with bursts of fiery guitar à la West Coast. Whatever its purpose on the album, its a magnificent track : fully Prog, yet rocking full tilt !

"Burning Bridges" (2:31) was written by Lalo Schifrin and Mike Curb, and released on the album of the same title by The Mike Curb Congregation in 1971 ; prior to that, it was used as the theme for the 1970 WW II comedy movie (at the height of the Vietnam War, such a movie shows how much Hollywood can take things seriously when need be?), "Kelly's Heroes", starring C. Eastwood and D. Sutherland, among others. At first, the song seems to be totally out of place according to some reviewers. In fact, it does fit in perfectly, as it evokes Victory Songs that were sung in pubs and taverns in the UK, Canada and Australia, when people back home heard news about Allied victories and, eventually, the surrender of Nazi Germany in May 1945. Or some others view it as if a former soldier was reminiscing about the (allegedly) good old days of the war and, thus, ironically looping the loop with the message within "We Forgotten Who We Are".

So, is it Post Rock, or Psychedelic/Space Rock ? I guess it's both, but I wouldn't argue about the matter so much because I don't care much for labels : I listen to music because I like it, not because it allegedly belongs to this or that sub-genre. That said, my feeling is that CBP are not so easily pigeonholed under any too definite label. They wear their Pink Floyd influences on their sleeves, but they also show a taste for folk. They can be quite electric, all the while sharing the stage with cello, viola, violin, mandolin and trombone. But it's not so much a matter of mixing instruments from different eras, but what CBP do with them : it's versatile and grand, melodic and spacey with lyrics that make sense. In my book, that's more than enough to thank them warmly for what they did in "I, Vigilante".

4 red poppies

 Inside by ELOY album cover Studio Album, 1973
3.74 | 322 ratings

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Inside
Eloy Psychedelic/Space Rock

Review by Pastmaster

5 stars Eloy-Inside

'Inside' is the second studio album by hard rock/space rock band Eloy. After original lead vocalist Erich Schriever left the band after Eloy's debut, Frank Bornemann decided he wanted to add something more into his band's sound. What he added was a futuristic tone and spacey lyrics to their sound, hence 'Inside' being a heavy space rock album.

While this album does maintain the Deep Purple-esque heavy metal/hard rock of the debut, the newly added space rock elements really makes the album stand out a bit more then the debut. The album opens up with the nearly 18-minute long epic 'Land of No Body', which starts out with some great bluesy bass. When Bornemann's vocals come in, they fit very well with the menacing bass grooves. Soon organ signals crashing guitar, before driving riffs enter. After the organ plays over the crashing guitar four minutes through, the menacing bass comes back with atmospheric space sounds giving the song a much darker tone. Towards the end, thumping bass and guitar drives under a great guitar solo leading up to Bornemann's screams over heavy guitar. Kind of reminds me of Rush's '2112' in this sense. The song ends with pounding organ and drums.

While the opener is certainly the main highlight of the album, there are other standout songs on here. The menacing title track is great, with the haunting chamber-esque organ playing over pounding drums. 'Future City' begins with acoustic guitars and winding sounds. Great cymbal work and driving bass soon signal in heavy guitar. Before the guitar solo begins is where Eloy's unique drum work shows with tribal drums combined with the winding noises. If you get the remaster, the driving Deep Purple-esque 'On the Road' is a gem.

I've noticed many people have an issue with Frank Bornemann's voice, mainly due to his thick accent. However, I happen to love his voice. Probably one of my favorite vocalists to be honest. It's very unique, and I think it fits perfectly with the music. Lyrically, I love how in songs like 'Land of Nobody' space themes are mixed in with subtle political commentary. Lyrics like 'We just leave the earths ground, On the way to see the new star.' are combined with 'We want freedom, We want freedom for the world, Power to the people, And the righteous in the land.' I find these kinds of metaphorical lyrics really cool.

Overall, I highly recommend this album to any fans of proto-metal, hard rock, and space rock. It shows the beginning of Eloy's masterful combination of heavy metal/hard rock and atmospheric space rock. 4.5 rounded up to 5.

(Originally written for www.metalmusicarchives.com)

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.46 | 378 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

3 stars I have never been so conflicted about getting an album as I was with this one. The positives were the fact that this is a tribute of sorts to Richard Wright and that it's mostly instrumental but the negatives for me were that the tunes are mostly out-takes from The Division Bell sessions as i'm just not into PINK FLOYD without Roger Waters being involved. Well obviously I picked the cd up with three bonus tracks that for some strange reason are better than the proper album songs(in my opinion). This comes just as advertised as it's very ambient and pleasant overall with mostly shorter tracks that blend into each other. There are lots of guests helping out including plenty of strings and backing vocals. Two guest bass players help Gilmour out in that department with Waters not being asked to be involved.

"Things Left Unsaid" feature spoken words and a spacey atmosphere with the guitar crying out and plenty of organ runs. "It's What We Do" is similar to track one as it's quite spacey but we get some sax here reminding me of "Wish You Were Here". "Ebb And Flow" is mostly keys and guitar while "Sum" has this cool sounding organ before the song kicks into gear 1 1/2 minutes in. "Skins" is just that, a song where Mason is the focus. "Unsung" is almost "Echoes"-like while "Anisina" is just too normal sounding and one I just can't get into. "The Lost Art Of Conversation" is spacey with laid back piano melodies. "On Noodle Street" is mellow with a beat and a spacey atmosphere.

"Night Light" is spacey with no beat while "Allions-Y (1)" is another ambient and spacey piece with a beat. "Autumn '68" is one of my favourites with the organ floating beautifully in the background. "Allions-Y (2)" reminds me of nineties CAMEL, especially the guitar. "Talkin' Hawkin'" has these spacey guitar expressions as spoken words arrive 1 1/2 minutes in. it turns calm late. "Calling" is dark and somewhat experimental but the sun comes out later on as it brightens. "Eyes To Pearls" is another favourite of mine. Picked guitar and atmosphere early on and the drums remind me of "A Saucerful Of Secrets". "Surfacing" has this uplifting sound to it that I enjoy. "Louder Than Words" is pleasant and a vocal track.

This is all very familiar and safe and in my opinion 3.5 stars is the perfect rating. A nice companion to "The Division Bell" and certainly if your a big fan of that album you need to pick this up, the rest of you might be disappointed.

 The House Of S. Phrenia  by SOLAR PROJECT album cover Studio Album, 1995
3.40 | 24 ratings

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The House Of S. Phrenia
Solar Project Psychedelic/Space Rock

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars The SOLAR PROJECT was started in 1988 by Robert Voker, Janacek Terhoeven and Peter Terhoeven. Their eclectic progressive sound has found a home on Musea Records, where THE HOUSE OF S. PHRENIA is their third album but only the first i have encountered. I review this album having never heard anything else by this band. There is a lot to love about this album. There are many cool sounds eked out of many guitar slides, many keyboard runs that bend and morph with fairly strong song structures. But likewise there are many ho hum moments as well.

This is a concept album that explores the depths of the human psyche and each track represents a different aspect of the human condition.The tracks are broken up by narrative leading the listener to a different floor in a department store. Such as first floor Mr. "Anitor's" apartment to announce the first track which is a short but sweet super funky freakout with some Herbie Hancock type synths bending back and forth like a yoga instructor. I was beginning to wonder what kind of prog this was. Funk and prog are certainly the odd couple but the track ends as quickly as it gets heated up and then off to more serious prog endeavors.

Starting on the second floor "S. Phrenia" which is a great story about schizophrenia and some equally compelling progified song structures going on. Nice mood enhancing synths engulf a steady rock beat with amplified guitars and some rough and ready backup singers to usher in an ever increasing speed tempo picking up. The track is great for keeping a pleasing melody revolving around a wealth of instrumental passages and an army of vocalists adding their counterpoints to the catchiness.

While there is a lot to love about HOUSE OF S. PHRENIA, this is a very lengthy album that lasts 75 minutes. I personally feel that about a third of this album could have been cut off and it would have been a much stronger album. While there is a strong beginning that displays a lot of creativity and and slight nods to Pink Floyd, by the time we get to the end of the album we get bombarded with endless Floydian noodling and space rock meandering that outstays its welcome. While the concept of the album is a lofty one tackling one of the most complex subjects ever to grace this planet Earth, the musical offerings just aren't up to the task in accompanying these ideas. There are also sitars, flamenco guitar parts and lots of little bursts of coolness.

The lead vocals are a little hit and miss for me. While the background vocals tend to soften the results, i just feel the lead vocals should be stronger with music like this, sometimes they fumble a little. Still though not a bad album and one that is enjoyable albeit with noticeable blemishes pocking its countenance. This album has sold me on checking out future releases by the SOLAR PROJECT because there is a lot of potential here that i hope has been developed.

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35007 Netherlands
3RD EAR EXPERIENCE Multi-National
THE 4 LEVELS OF EXISTENCE Greece
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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
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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
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BACHDENKEL United Kingdom
BACKSTREET ROMEOS Germany
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BARRETT ELMORE Sweden
MASAKI BATOH Japan
BËIRUTH Spain
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BLACK BOMBAIM Portugal
BLACK LIGHT SECRET United Kingdom
THE BLACK NOODLE PROJECT France
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BLAND BLADEN Sweden
BLIM United Kingdom
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BOSQUES Argentina
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BRAINSTORM Australia
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BUHO ERMITANO Peru
BURNT NOODLE United States
ROBERT CALVERT South Africa
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CAPITAL SENTIMENTAL Netherlands
CARLTON MELTON United States
THE CARPET KNIGHTS Sweden
CARRÉ.LADICH.MARCHAL Multi-National
CATHARSIS France
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CAULDRON Sweden
CAUSA SUI Denmark
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LES CHAMPIGNONS Canada
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CUZO Spain
D SOUND Hungary
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DEEP SPACE DESTRUCTORS Finland
DEIGEN Japan
EL DIABLO Mexico
DOMO Spain
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THE EARLIES Multi-National
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EGYPTIAN KINGS Portugal
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EKOS Mexico
EKTROVERDE Finland
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ELEVATOR Canada
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ELMER GANTRY'S VELVET OPERA United Kingdom
ELOY Germany
AN EMERALD CITY Multi-National
THE ENTRANCE BAND United States
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ETER-K Peru
ETERNAL TAPESTRY United States
EVEL GAZEBOW United Kingdom
EYE United States
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FIRST BAND FROM OUTER SPACE Sweden
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GALACTICKA Finland
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GDEVA Russia
GHOST Japan
THE GIANT HOGWEED ORCHESTRA Finland
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GOAT Sweden
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GREYLEVEL Canada
GROUP 1850 Netherlands
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GUILD NAVIGATORS United States
HANADENSHA Japan
HANDLINGNOISE Finland
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A HEADFULL OF MONSTERS United Kingdom
THE HEADS United Kingdom
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HERE & NOW United Kingdom
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HOUSE OF NOT Canada
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ID United States
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IKIHEVONEN Finland
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IMANISSIMO Indonesia
IN A NUTSHELL Russia
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INCANDESCENT SKY United States
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INSIDER Italy
INSTANT FLIGHT Multi-National
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INTERNATIONAL HARVESTER Sweden
THE INVISIBLE BAND! United Kingdom
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ION QUEST United States
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IT'S NOT NIGHT: IT'S SPACE United States
IVORY Germany
IXTHULUH Austria
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JACKS Japan
ANDY JACKSON United Kingdom
JADE France
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THE JELLY JAM United States
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JOY HEIGHTS Japan
JUKE France
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KAARNA Finland
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KANZEON Japan
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KARUNA KHYAL Japan
ROSE KEMP United Kingdom
PAUL KIDNEY EXPERIENCE Australia
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KILL FOR TOTAL PEACE France
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KING SUFFY GENERATOR Italy
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KLAR Czech Republic
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LAGHONIA Peru
LANDING United States
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SELIM LEMOUCHI AND HIS ENEMIES Netherlands
LENIN Argentina
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THE LONGEST DAY Australia
LOOP United Kingdom
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THE MACHINE Netherlands
MACONDO Peru
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MICHEL MADORE Canada
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MAGIC MUSCLE United Kingdom
MAGICAL POWER MAKO Japan
MAGNOG United States
MAINLINER Japan
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MAN United Kingdom
THE MANDRAKE MEMORIAL United States
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MANTRIC MUSE Denmark
MAPPE NOOTICHE Italy
MARBLE SHEEP Japan
MARGIN Germany
ALAIN MARKUSFELD France
MARS EVERYWHERE United States
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MARY NEWSLETTER Italy
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MESS Estonia
MESSAGE Germany
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