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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 | 3045 ratings
WISH YOU WERE HERE
Pink Floyd
4.59 | 3219 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 2712 ratings
ANIMALS
Pink Floyd
4.31 | 2280 ratings
MEDDLE
Pink Floyd
4.23 | 763 ratings
OCEAN
Eloy
4.13 | 278 ratings
RITUAL
Nemrud
4.09 | 478 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.11 | 326 ratings
JURASSIC SHIFT
Ozric Tentacles
4.13 | 229 ratings
LEGACY
Hypnos 69
4.13 | 204 ratings
TOGETHER WE'RE STRANGER
No-Man
4.05 | 2214 ratings
THE WALL
Pink Floyd
4.05 | 416 ratings
A TAB IN THE OCEAN
Nektar
4.04 | 461 ratings
DAWN
Eloy
4.15 | 124 ratings
BY THE WATERS OF TOMORROW
Vespero
4.17 | 101 ratings
THE FUTURE KINGS OF ENGLAND
Future Kings Of England, The
4.04 | 396 ratings
THE OCTOPUS
Amplifier
4.05 | 246 ratings
EFFLORESCE
Oceansize
4.02 | 474 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy
4.05 | 239 ratings
EVERYONE INTO POSITION
Oceansize
4.21 | 69 ratings
TAKO
Tako
4.01 | 364 ratings
PLANETS
Eloy
4.11 | 105 ratings
KINGSTON WALL II
Kingston Wall
4.33 | 41 ratings
OBSOLETE
Hedayatt, Dashiell
4.00 | 262 ratings
FRAMES
Oceansize
4.01 | 228 ratings
ERPLAND
Ozric Tentacles
4.12 | 86 ratings
PARALLEL WORLD
Far East Family Band
3.98 | 373 ratings
THE BLACK CHORD
Astra
3.98 | 337 ratings
HALL OF THE MOUNTAIN GRILL
Hawkwind
4.12 | 73 ratings
O 'A' E O 'Z'
Mutantes, Os
4.00 | 164 ratings
I WASH MY SOUL IN THE STREAM OF INIFINITY
My Brother The Wind
4.00 | 153 ratings
DEAD AIR FOR RADIOS
Chroma Key
4.07 | 85 ratings
JOURNEY
Brown's Kingdom Come, Arthur
4.04 | 98 ratings
ESPECTRO
Violeta De Outono
4.14 | 53 ratings
BURNING OFF IMPURITIES
Grails
4.18 | 46 ratings
LIQUID
35007
3.89 | 1491 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
4.12 | 54 ratings
IMPRESSIONABLE SOUNDS OF THE SUBSONIC
First Band From Outer Space
4.05 | 73 ratings
TRI-LOGY
Kingston Wall
4.04 | 75 ratings
SURPASSING ALL KINGS
Vespero
4.15 | 46 ratings
THE GUITAR IS MIGHTIER THAN THE GUN
First Band From Outer Space
4.14 | 48 ratings
IGRA STAKLENIH PERLI
Igra Staklenih Perli
3.94 | 178 ratings
LEVITATION
Hawkwind
4.03 | 78 ratings
TUDO FOI FEITO PELO SOL
Mutantes, Os
3.93 | 173 ratings
(MANKIND) THE CRAFTY APE
Crippled Black Phoenix
3.89 | 361 ratings
REMEMBER THE FUTURE
Nektar
4.21 | 34 ratings
FANTASTIC FREAK SHOW CARNIVAL
KingBathmat
4.16 | 40 ratings
MANTRIC MUSE
Mantric Muse
3.98 | 94 ratings
BRIDGES OF KUKURIKU
Quantum Fantay
3.94 | 128 ratings
CURIOUS CORN
Ozric Tentacles
3.95 | 115 ratings
THE HIDDEN STEP
Ozric Tentacles
4.11 | 47 ratings
THE BLACK TOMATO
Øresund Space Collective
3.85 | 1640 ratings
ATOM HEART MOTHER
Pink Floyd
4.03 | 66 ratings
HÖGTID
Agusa
3.89 | 251 ratings
THE WEIRDING
Astra
3.91 | 164 ratings
ARBORESCENCE
Ozric Tentacles
4.46 | 19 ratings
ØRESUND SPACE COLLECTIVE
Øresund Space Collective
3.87 | 293 ratings
TIME TO TURN
Eloy
4.31 | 25 ratings
MOTHER FROM THE SUN
Ragni, Marco
4.12 | 41 ratings
AHORA MAZDA
Ahora Mazda
3.96 | 89 ratings
SYMBIOSIS
Hidria Spacefolk
4.16 | 36 ratings
MASTER
Teeth Of The Sea
4.03 | 58 ratings
TIME ROBBER
Omega
3.93 | 117 ratings
FLOWERMOUTH
No-Man
3.96 | 86 ratings
SUBKRAUT: U-BOATS WILLKOMMEN HIER
Vespero
4.03 | 56 ratings
WITHOUT INTRODUCTION
Polyphony
3.95 | 88 ratings
UGISIUNSI
Quantum Fantay
3.92 | 121 ratings
JOURNEY OF THE SHAMAN
Nemrud
3.89 | 167 ratings
STRANGEITUDE
Ozric Tentacles
4.30 | 23 ratings
THE RESURRECTIONISTS
Crippled Black Phoenix
3.91 | 117 ratings
RETURNING JESUS
No-Man
3.95 | 74 ratings
LONG DISTANCE TRIP
Samsara Blues Experiment
3.86 | 188 ratings
ECHO STREET
Amplifier
4.76 | 11 ratings
PSYCHO ERECTUS
Polytoxicomane Philharmonie
4.09 | 35 ratings
AQUELARRE
Aquelarre
3.90 | 95 ratings
SOL29
NoSound
4.09 | 34 ratings
FORCE MAJEURE
Solar Project
4.13 | 30 ratings
2009
Korai Öröm
3.96 | 56 ratings
THE VIEWING POINT
Future Kings Of England, The
4.05 | 36 ratings
SUMMER SESSIONS VOL. 1
Causa Sui
3.85 | 132 ratings
WATERFALL CITIES
Ozric Tentacles
3.98 | 46 ratings
INTERGALACTIC ART CAFE
StereoKimono
3.84 | 139 ratings
DEEP POLITICS
Grails
3.92 | 66 ratings
200 YEARS AFTER THE LAST WAR
Omega
3.84 | 126 ratings
LIGHTDARK
NoSound
4.00 | 40 ratings
DROGA
Vespero
4.00 | 40 ratings
THE MARIA DIMENSION
Legendary Pink Dots
4.15 | 24 ratings
IN TIME
Solar Project
3.88 | 78 ratings
FRAMTIDEN AR ETT SVAVANDE SKEPP, FORANKRAT I FORNTIDEN
Algarnas Tradgard
3.88 | 76 ratings
TERRAGAIA
Quantum Fantay
3.92 | 54 ratings
THE FATE OF OLD MOTHER ORVIS
Future Kings Of England, The
3.92 | 55 ratings
MUTANTES
Mutantes, Os
4.04 | 30 ratings
BLUE CATHEDRAL
Comets on Fire
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
4.85 | 8 ratings
UFO PLANANTE
Invisible Opera Company Of Tibet (Brazil)
4.48 | 12 ratings
TOBA TRANCE 1
Natas, Los
3.98 | 37 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

TAMBOURINE FREAK MACHINE
Dragontears
UGISIUNSI
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Latest Psychedelic/Space Rock Music Reviews


 Ra by ELOY album cover Studio Album, 1988
2.80 | 164 ratings

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Ra
Eloy Psychedelic/Space Rock

Review by Progfan97402

3 stars I found this LP for next to nothing at a Eugene, Oregon record convention. The seller was a prog junkie, and likes Eloy just as much as the next proghead, but I was under the impression he never cared for Ra, which is understandable, it's not well liked in the prog community. That's why I got it for next to nothing, along with several prog albums more worth noting, including Melody's Yesterlife (1977), a band that's not in ProgArchives (although should be).

I knew right away this was not going to be like Ocean or Silent Cries and Mighty Echoes. I didn't even expect it to be like Planets or Time to Turn, their best 1980s albums. It's not bad, although having a real drummer could have benefited big time (listen to Ocean 2 from a decade later, which had a real drummer in Bodo Schopf and you can see the difference). Put this against Ocean or Silent Cries and Ra crashes and burns. Put this up against popular mainstream music of the time like teen bubblegum of the Debbie Gibson and Tiffany variety, or cheesy hair metal of the Bon Jovi, Poison, Whitesnake, and White Lion variety, and this sounds like a breath of fresh air. The music is straight out of the late '80s. Digital synths (including the Yamaha DX-7) and drum machines all over the place, heavy metal guitar riffs (at least more tolerable than cliched hair metal guitar riffs as done by those kind of bands mentioned). There's no denying the intro of "Voyager of the Future Race", a nice ambient piece, and one could have imagine this becoming the Ocean of the '80s, but you know that wasn't going to me. But the album does have some really nice melodies, and not the most offensive of '80s sounds so I did find it enjoyable. Ballads like "Dreams" and "Rainbow" clearly showing them attempting to score a hit, and Frank Bornemann attempts a ridiculous falsetto he never did before, but does on this album (and on Destination and even parts of The Tides Return Forever). I guess this album probably would not have been so trashed on had it been released as a Frank Bornemann & Michael Gerlach album. I guess Bornemann felt that he'd be able to sell more copies by slapping on the Eloy name. I guess if you are strictly '70s for prog rock, you probably should stop at Time to Turn, and avoid anything they done after. But to my ears it's not bad, and I didn't expect it to be like their classics and found it nice listening, but not really essential, so three stars. Love that cover, though (which leaves such bad covers as Yes' 90125 and Big Generator, King Crimson's Beat, Emerson, Lake & Powell's sole album and ELO's Balance of Power totally in the dust).

 A Spoonful Of Time by NEKTAR album cover Studio Album, 2012
2.73 | 52 ratings

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A Spoonful Of Time
Nektar Psychedelic/Space Rock

Review by Tom Ozric
Prog Reviewer

3 stars This recent-ish release, masquerading as a NEKTAR album, can be taken as another Billy Sherwood 'Prog Collective' project. Indeed, the current line-up of Nektar, featuring only 2 of the 'classic' formation in Roye Albrighton (guitars/vocals) and Ron Howden (drums/vocals), are joined by keyboardist Klaus Henatsch and multi-intstrumentalist/vocalist Billy Sherwood to form the core of the band. Then we have help from all sorts of top-notch musicians from Marillion's Mark Kelly, to Brainticket's Joel Vandroogenbroeck, Billy Sheehan to Rick Wakeman. I gather the 'lion's share' of the recording layed on Roye's shoulders, and helped re-ignite the Nektar brand. The songs are all 'classic radio songs' from the 70's, and actually vary little from the originals. They are mostly better and interesting selections from those days of 'hits', but unless you already appreciate songs like Steve Miller's Fly Like An Eagle, The Doors' Riders On The Storm, and even Gary Wright's Dream Weaver, this will be 'just another' covers album. From the 14 songs here, I was only unaware of Neil Young's Old Man, which features guest David Cross (King Crimson) on violin. Recommended highlights here being a very pretty 6min version of Floyd's Wish You Were Here, with the featured guest being the late, great EDGAR FROESE on keyboards, Riders On The Storm featuring a superb performance on the Hammond from legendary Rod Argent. A suitable Roxy Music tune in Out Of The Blue features Hawkwind's Simon House on violin, replacing Eddie Jobson's stellar performance on the 1974 original. 10CC are represented by a sweet rendition of I'm Not In Love, beautifully ethereal, and having a super Moog solo from Wakeman. The soul hit For The Love Of Money, which is played to death throughout the media, features guest drummer Ian Paice (Deep Purple), and woodwinds eccentric Nik Turner on sax - this lengthy rendition adding some deliciously spacey grooves, background mellotron sounds and suitable jamming from all. Having been fortunate enough to have caught up with Klaus H at an NYC Nektar gig, from memory he said the idea was suggested by manager John Lappen, immediately jumped-on by Roye and Billy, and was a lot of fun to work on. Definitely a solidly good album, perhaps a little light on the 'Prog', but an enjoyable listen never-the-less. 3.5 stars.
 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.50 | 349 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by DrömmarenAdrian

3 stars Pink Floyd is a band I like more than I appreciate and "The Endless River" is an album I appreciate more than I like. I have not really wanted to get into this band's music of some reasons. Perhaps it's because they are so popular by average people. However, Pink Floyd is a perfect reserve I know I should love if I wanted. I am also quite sure it will be a day like that! Atom Heart Mother, Meddle, Dark side of the moon and Wish you were here are magical masterpieces and they are also the only records of them I have heard. Now have the band though quit with "The Endless River" which becomes their fifteenth studio album. Even the cover shouts out farewell.

The music is almost entirely instrumental and was recorded some years ago and features David Gilmour, Nick Mason and Richard Wright together with a bunch of talented guests. Eighteen tracks amongst which the majority are short and atmospheric. On a harmonic and lovely keyboard sound wall are put the confident drums and the typical lyrical guitar which this band is so famous for. The music is slow and it doesn't happen a lot but I must confess it's really pleasant to listen to. Many tracks are a bit too ambient for me but it's still very nice to hear the typical Pink Floyd sound on a 2014 release. My favourite parts are "Louder than words"(10/10) the only song with vocals, and how I wish all songs would have been as good as this. The last song from this band could be one of the classic songs as well. The song has similarities with "Wish you were here" for example. "Sum", "Anisina" and "Allons-y2"(8/10) are amazing tracks with wonderful melodies and fine guitars. "Surfacing"(7/19) is a great opening act for the final track and "Allons-y1"(7/10) makes me feel very satisfied too. All of the other tracks would I rate 5-6/10 and I could easily say that this album is decent from the beginning to the end.

This farewell from this great band thought contains too few masterworks and too many fillers, even if the fillers are quite good. I appreciate that the band made this conclusion and think that the future will give it a more fair judgement. My rating ends at 3.19 which meens three stars. Best song: "Louder than words"

 I by TAIPUVA LUOTISUORA album cover Studio Album, 2005
3.39 | 12 ratings

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I
Taipuva Luotisuora Psychedelic/Space Rock

Review by apps79
Special Collaborator Neo Prog Team

3 stars After the nice introduction to the public with their debut, Taipuva Luotisuora signed with their hometown label Kaakao.Meanwhile the line-up was expanded to a six-piece core but without Hermanni Vuorisalo on drums, instead Tatu Laurila and Taneli Korpinen had entered the team on drums and percussion repectively.The second album of the band, simply titled ''I'', was released in 2005.

They picked up the sound of their debut album and throwed in some heaviness in the electric parts, as this point the band seems to walk on parallel ways with Belgians QUANTUM FANTAY, introducing space inventiveness, rhythmic guitars and a bit of Folk in a nice Space Rock package.Unlike the Belgians though, their more folky touches, performed mainly on kantele and flute, had a strong oriental edge, recalling the 70's Kraut Folk acts, and creating ethnic soundscapes over cosmic, multi-layered synthesizers and electronics.Drums are very pounding and the guitar-driven parts are quite mascular, they even enter some PORCUPINE TREE-like territories during these heavier moments.The new album even contains a 15-min. long instrumental, ''Tropiikin hedelmia soseena'', divided in four movements and showcasing the Finnish at their most diverse execution.An exchange between powerful riffs and neurotic electronics with ambiental textures and acoustic injections, while parts of the piece sound very melodic and certain guitar moves are inspired by Eastern Music.And after the display of groovy, spacious sounds they have chosen a calm instrumental to close this work, ''Sohvatyynyja jaannöslangoista'', based on soft piano, violin and hypnotic drumming.

Among the interesting groups of modern Space Rock.All these bands had Ozric Tentacles as their guiding light, so do not expect something very personal, but the material is passionate, psychedelic and very, very dynamic.Recommended.

 Flowermix by NO-MAN album cover Boxset/Compilation, 1995
2.67 | 24 ratings

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Flowermix
No-Man Psychedelic/Space Rock

Review by TCat
Prog Reviewer

3 stars This is the companion remix compilation for "Flowermouth" which I consider a masterpiece. This collection however is not consistently good throughout like that album. It is completely made up of remixes of tracks from Flowermouth, but, except for a few exceptions, they don't really add to or improve the original tracks. We can talk about these tracks a little bit and you can decide for yourself if it merits the effort to locate this compilation.

The collection starts off with "Angeldust" which is a great remix done by Steven Wilson of the track "Angel Gets Caught in the Beauty Trap". The remix features guitar and soundscapes from Robert Fripp and it stands out because of the effective use of Frippertronics and improves the original track. It also features sax from Mel Collins (also originally from King Crimson) spotlighted even better than the original track. However, the Flowermouth reissue contains this particular track as a bonus track, so you are just as well off to get the track on that album. The next 3 tracks are "Faith in You" (the first instance of "You Grow More Beautiful" remixed by Prophets of Bliss) which has a hip hop sound that moves into electronic techno territory that to me distracts from the beauty of the original track, "All I See" which is a repetitive remix of "Soft Shoulders" made for the dancefloor and not for casual listening, and "Natural Neck" which doesn't do anything for me. These 3 tracks are not even close to challenging except for the effort it takes to stay interested in the music and they add nothing to the originals.

"Heal the Madness" is a great remix that starts out very atmospheric and builds from a spacey, somewhat ambient sound to a nice beat that actually stays interesting because of the lack of extensive repetitiveness that is overwhelming in the previous 3 tracks. After that you get another version of "You Grow More Beautiful" re written by SW and featuring a funkier sound than the original. This one is probably the only "traditional" sounding song on the entire album and adds a different character to the song than the original without ruining it.

After that, you get 2 more repetitive remixes, "Sample" which is a techno sounding version of "Simple" without any kind of feeling that made the original great, including the fact that the vocal loop from Lisa Gerrard is either missing or pushed so far into the mix that it means nothing, and next is "Why the Noise?" which is a reworking of "Teardrop Fall" with the vocals remaining fairly intact, but it is rougher sounding than the original and more dramatic, but not really worth the effort of the remix.

Last of all is "Born Simple" which is a 12 minute foray into Frippertronic soundscapes and SW electronics and it sounds more like SW's other project Bass Communion than it sounds like a No- man remix. It is a great example of Fripp's atmospheric guitar special effects put to effective use, but it is also available as a bonus track on the original album's reissue, although it is about 3 minutes shorter than the "Flowermix" version.

In my opinion, even with the great tracks on here, it still isn't worth searching this one out. You are better off finding the amazing "Flowermouth" album where at least you get 2 of the 4 better tracks that are on this compilation. The other 2 great tracks are not enough to redeem the rest of the compilation from it's repetitiveness and inability to add much to the original album. Taking this compilation on it's own merits though gives it a good rating, but it really isn't essential especially with the bonus tracks now available on "Flowermouth"

 Flowermouth by NO-MAN album cover Studio Album, 1994
3.93 | 116 ratings

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Flowermouth
No-Man Psychedelic/Space Rock

Review by TCat
Prog Reviewer

5 stars Flowermouth is No-Man's 2nd full album and what a beauty it is. It is full of great, atmospheric sounds, sometimes ambient in a few short passages, sometimes featuring drum loops you can dance to, other times offering an atmospheric jazz/rock fusion and other times discordant sounds. Each track has it's own great characteristics and surprises, the one constant being Bowness' airy vocals which work in every scenario presented here.

This album is also loaded with guest artists that add to the quality of this music. It's a huge thing first of all that the usual two man crew of Tim Bowness and Steven Wilson are helming the band and we are in capable enough hands right then and there, but you also get so much more here. In "Angel Gets Caught in the Beauty Trap", you get the muted jazz trumpet sounds of the great Ian Carr, in "Shell of a Fighter", you get full on space rock sounds of Wilson's Porcupine Tree co-hort, Richard Baribieri, and in the beautiful "Simple" you get looped vocals of Lisa Gerrard from Dead Can Dance that add to the mystery of that song. On top of that you even get some killer guitar solos from Steven Wilson and plenty of evidence of his involvement throughout the album, even though the overall sound is far from Porcupine Tree, but it is still brilliant.

Okay, so if that isn't enough for you, let's throw in 2 King Crimson greats, Robert Fripp who plays guitar on 5 of the tracks and adds some Frippertronics on 6 tracks (including the 2 bonus tracks) with 'Born Simple' being all instrumental with all Frippertronics and Steve Wilson's electronics making for something that sounds more like Wilson's other project, Bass Communion. Also, Mel Collins from the earlier (and also most recent) incarnations of King Crimson plays sax and/or flute on 3 of the tracks (including a lovely flute solo on the amazing song "Animal Ghost"). What other excuse would you need to check this album out?

The other reason for the importance of this album is the excellent musicianship, production and songwriting prevalent throughout this album. Everything here is utilized and executed wonderfully. The overall sound is atmospheric like I said before but with so much more thrown in to keep it interesting. The entire album, even with all these great musicians participating, is very cohesive even in it's variety. There is plenty here for space rock fans, for electronic fans, for jazz fusion lovers and yes even some passages that would please avant garde fans. All of this is tied together by Tim's vocals and Steven's instrumentation. No-Man was a very talented band, but there were only a few of their albums that were able to reach the essential status. This is one of them. There is quite a varied amount of No-Man material out there, most of it hard to find in the U.S., but this album is definite must-have for Steven Wilson fans, you definitely hear a lot of his influence here. Also, KC or Robert Fripp fans should search out this album because he has so much influence and guest time on this album to be considered a band member.

Very psychedelic at times and very complex and jazzy at others, yet the album is very accessible. This it a great doorway into the music of so many artists, but also for Progressive Rock in general. It is an underrated masterpiece and should be explored by all lovers of the genre.

 Reverberating Garden No. 7 by OCTOPUS SYNG album cover Studio Album, 2014
3.00 | 1 ratings

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Reverberating Garden No. 7
Octopus Syng Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars Finnish band OCTOPUS SYNG have been around since the late 1990's, with Jaire Pätäri the main creator of the music in the band from what I understand after googling the band a bit. So far they have released three full length studio productions to their name. "Reverberating Garden No. 7" is the most recent of these, and was released through fledgling UK label Mega Dodo Records in the spring of 2014.

I'll have to admit that psychedelic music probably isn't among the types of music I have a natural inborn high interest in. The splendid releases from UK label Fruits de Mer Records have certainly opened my mind to the joys of this kind of music, receiving their promo releases for a few years now have given me number of delightful experiences with this specific style of music. But I'm not amongst those that have a natural disposition to like music merely because it is psychedelic in form, style or nature, and I'm probably a bit more critical about such productions than the main fan-base of such ventures.

In this case this leads to what I suspect is a much more critical view of this production than many others have given it or will give it in the future. Because the overall mood of this album is one that will satisfy those with a strong affection for vintage psychedelic music rather instantly I suspect. The production is a closed in one, verging on lo-fi, and comes across as true, natural and organic. My experience with psychedelic music enthusiasts is that those assets are appreciated on a general basis, albums that sounds like they were recorded sometime back in the 1960's. Constant use of resonating instrument effects is a key element, this is an aptly named album in that context, and we have plenty of folk-tinged sequences bordering the pastoral to along with as well as moments that are almost bleeding pure psychedelia. A track like Very Strange Trip as good an example of that as anything. Sleepy, almost spoken like lead vocals with a naive touch and chorus sections that the hippie era written all over them other details that should please dedicated psychedelic music aficionados no end, especially those with a specific affection for the folkier oriented parts of it. That a few textured effects that gave me associations to post rock was thrown in on a couple of occasions a charming addition to this sound, but also one given a more subdued role that doesn't break the mood or the mould of this album. Vintage organ displays and sitar are other elements that will be noted as positive by the core audience for this production I assume.

Personally I find the compositions themselves to be somewhat anonymous however. The sound, mood and atmosphere is just about perfect, apart from the overly sharp esse's and some equally sharp cymbals that stabbed into my eardrum from time to time, but the songs themselves just never managed to grab my attention. Until the very end of this album. The darker, almost sickly sounding Mirror of Our Memories and the almost Gothic nature of the following Reflections of Our Time did catch and maintain my attention. They do stand out from the rest of the songs due to the darker, gloomier and almost menacing atmospheres, those fond of the more naive hippie sound may not appreciate these excursions, that might be more appropriate as soundtracks for walks in the Finnish forests at night time with thick sheets of fog covering the moon and the stars.

Still, the nine minute long creation that concludes this album is in a class of it's own. Listen to the Moths is the name of this elegant, light toned and mystical affair, opening as a sparse folk-oriented affair with frail resonating acoustic guitars and a darker sleepy spoken like lead vocal, followed by a harder edged and more vibrant section and then concludes with soft repeated vocals, soaring psychedelic textures and sparse drum details. The opening two thirds brilliant and magical, the final third not as tantalizing for me personally but one I would guess that fans of acid folk in particular should appreciate highly.

At the end of the day my personal experience of this production is that it is rather uneven, with the final third of this album as my personal highlights. When that is said, I can easily understand if many others will be drawn to this album like the proverbial moth to the flame. Those with a strong affection for psychedelic rock from the late 1960's, and in particular those who treasure and love the moods and atmospheres of that kind of music just as much as they love the music itself. I would guess that those people, presumably many of which would describe themselves as free spirits, will be captivated by this album from the get go. As far as specifying a key audience beyond that description, I'd suggest that fans of Syd Barrett might want to give this one a go.

 The Final Cut by PINK FLOYD album cover Studio Album, 1983
3.17 | 1364 ratings

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The Final Cut
Pink Floyd Psychedelic/Space Rock

Review by danyboy

2 stars Okay, here is my first Pink Floyd review as I work my way through their large collection. "The Final Cut" seems to be a real splitter among Pink Floyd fans. Some seem to hate it and give a saving grace for few songs. This may not be the best Pink Floyd ever did, but it has it's charms its own way. "Your Possible Pasts "- this is the only song i could add my mix tape. It has a real good old days feel to it (kinda like The Animals) "The Final Cut" is very clear that a follow up to "The Wall", in fact it could well have formed a third for that album. The music follows a strict pattern throughout, with alternating slow, soft and loud passages, only "Not now John", which is very an unsuccessful one, breaking the mould slightly. David Gilmour gets to throw in the occasional guitar solo, such as on "The Final Cut", but in all the album seems like one boring long track. This is obvious one of Waters poor solo album that the Pink Floyd name should not have been put on this album.
 Nik Turner's Sphynx: Xitintoday by TURNER, NIK album cover Studio Album, 1978
4.01 | 22 ratings

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Nik Turner's Sphynx: Xitintoday
Nik Turner Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars By 1978 Hawkwind had softened the harder edges of its music and was flying high along a turbulent commercial jet-stream behind Robert Calvert and Charisma Records, but with the band's roster and even its name in uneasy flux (Hawkwind, Hawklords, take your pick). All of which made this offshoot project from erstwhile sax man and flautist Nik Turner entirely unexpected, and still mysterious a full generation later.

Turner's passion was Egyptology, a not-uncommon obsession in the 1970's (the young PETER HAMMILL also flirted with Nile River mythology, in the early VDGG song "Boat of Millions of Years"). But nobody captured its arcane essence better than this, and Turner's first album survives today as a near-masterpiece of Space Rock, albeit drawn from the abyss of Time, not Space, and hardly Rock 'n' Roll at all.

You can almost hear the dust of eons in the lonely echoes of his moody flute playing, and with good reason. While on holiday in Egypt, Turner was allowed access to the King's Chamber in the Great Pyramid of Giza, where he recorded three hours of contemplative arabesques to an audience of Fourth Dynasty ghosts. Only later was an album assembled around his taped solos, but the final product is remarkably seamless, with an organic authenticity only a four thousand-year old recording studio can provide.

Even with a long guest roster the sound is almost minimalist, at times resembling an unmixed Hawkwind session stripped of all its other backing tracks. Something like rock music finally appears in the latter half of the album, with actual singing instead of the ritual, rhythmic chanting from the Egyptian Book of the Dead. At its best you might discern a likeness to classic GONG, thanks to contributions from Mike Howlett, Tim Blake, and guitarist Steve Hillage, who also produced the effort, no doubt with a kindred interest in Turner's antique mysticism.

If the Michael Moorcock declamations were your favorite part of Hawkwind's "Space Ritual", here's an ideal album for you. Don't expect to spin it often, but in the right mood and at the right time (perhaps when the star of Sothis appears in the east, and the fertile Nile begins to rise again) the effect can be magical.

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.50 | 349 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by tarkus1980
Prog Reviewer

2 stars Yo dawg I herd you like "Marooned" so I marooned you in an album full of "Marooned"

I get the temptation to rate this album higher than I would, and perhaps even significantly so. During the sessions for The Division Bell, the Gilmour/Wright/Mason trio recorded a large chunk of instrumental material together, and Wright recorded some snippets on his own that weren't worked into full-band material at the time. Some consideration had been made in the aftermath of The Division Bell of collecting this material and releasing an hour-long instrumental album (tentatively titled The Big Spliff), but the band ultimately decided against it, and this material was shelved. Many years later, after Wright passed away, Gilmour and Mason found themselves feeling nostalgic about their final recording sessions with Wright, and they decided to revisit some of that material. Wright's parts were left mostly undisturbed (though there was some supplemental keyboard work added after the fact), but Gilmour and Mason reworked and added many of their own parts, and they also brought in a good number of session musicians to flesh it out. A curious and potentially intriguing aspect of the material is that, aside from a single new song at the end ("Louder Than Words," which is basically a slower version of "Lost for Words"), the album is entirely instrumental (aside from a couple of sampled vocals here and there), and the instrumental approach often hearkens back as much to the band's pre-DSOTM days as it does to the band's classic period. With the album's strong emphasis on the musical (as opposed to lyrical, which so often has been the main point of emphasis for people in their treatment of the band) legacy of the band, and especially with its emphasis on Rick Wright, it seems like this could work as a nice elegy for the band, and could justify reviving the band's catalogue after it lay dormant for 20 years.

Well, I tried, but I just can't buy into the need for this album to exist. It would be one thing for the various instrumental passages to have some echoes of the band's past, but these passages often mimic the band's history so closely that they sound less like actual music and more like elaborate warmup exercises to help get the band into the right mindset for the material that it would actually record. Among others, this album contains passages that sound like alternate early versions of the following: "Shine on You Crazy Diamond," "Welcome to the Machine," "One of These Days," "A Saucerful of Secrets," "Us and Them," "Comfortably Numb," "Keep Talking" (Stephen Hawking makes another guest appearance) , "Another Brick in the Wall Pt. 2," and "High Hopes." The thing is, the band did something very similar on The Division Bell, and I didn't mind it as much there: whether the band wants to admit it now, it's become pretty clear through the years that the purpose of much of The Division Bell was analogous to the purpose of much of Wish You Were Here, and all of the various stylistic cribs on that album made sense. Here, without any clear conceptual framing, the album ends up sounding like a series of unfinished fragments superglued together and justified as "atmospheric," and while I'm somebody who tries to give atmosphere the benefit of the doubt, I can't do it in this case. That said, there is an interpretation for this album that I found can give it a little more weight and cohesion: the album could be heard as Pink Floyd on its death bed and seeing/hearing its life flash before its eyes, with all of its various musical memories flickering by before giving way to oblivion. Hearing the album this way doesn't exactly save it for me, but it can make it a little more palatable. That said, even with this interpretation in mind, I still can't get all the way beyond the slight creepiness factor of Gilmour and Co. playing karaoke over a bunch of keyboard parts that Wright wouldn't be able to tweak in response to their suggestions; it's the closest thing in the world of art rock that I can think of to using Fred Astaire to sell vacuum cleaners.

Still, while I find the album unnecessary and a bit of a put-on, there's still something mildly intoxicating about hearing Gilmour and Wright (I'm ignoring Mason because he doesn't distinguish himself; I'd be shocked if that's actually him playing on "Skins," for instance) interacting (in a manner of speaking) one more time, even if it's in the context of second-rate imitations of the band's glory days. I should also note that the album works better as a series of extended suites (split up in the way the LP version splits the material across four sides) than as a series of tracks (often very short) that only stick around long enough to noodle a bit but not long enough to make a great impression. I'd rather listen to this than A Momentary Lapse of Reason (which has some genuinely good material but also a good chunk of material that's much worse than anything here), but if I want to listen to something that reminds me of the glory years of Pink Floyd, then I'll listen to something from the glory years of Pink Floyd.

Data cached

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
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 MOON Germany
ELEVATOR Canada
BRIAN ELLIS United States
ELMER GANTRY'S VELVET OPERA United Kingdom
ELOY Germany
AN EMERALD CITY Multi-National
THE ENTRANCE BAND United States
ESCAPADE United States
ETER-K Peru
ETERNAL TAPESTRY United States
EVEL GAZEBOW United Kingdom
EYE United States
F/I United States
THE FACEDANCERS United States
FAIRUZ DERIN BULUT Turkey
FALSOS CONEJOS Argentina
FANTASY United States
FAR EAST FAMILY BAND Japan
FAR OUT Japan
FARFLUNG United States
MICK FARREN United Kingdom
FIFTY FOOT HOSE United States
FIRECLAN United States
FIRST BAND FROM OUTER SPACE Sweden
FISH EYE LENS United States
FJODOR Croatia
FLEUR DE LIS Denmark
FLOORIAN United States
THE FLOW Greece
FLOWER TRAVELLIN' BAND Japan
FLOWERS MUST DIE Sweden
FÖLLAKZOID Chile
FONYA United States
FOOD BRAIN Japan
FORCE MAJEURE Hungary
FRAKTAL Argentina
FROGGIE BEAVER United States
FROLIC FROTH Mexico
FROZEN GEESE United Kingdom
FUNGAL ABYSS United States
THE FUTURE KINGS OF ENGLAND United Kingdom
GALACTICKA Finland
GALÁPAGOS Argentina
GALAXY Switzerland
THE GATE TO ALPHA CENTAURI United Kingdom
GDEVA Russia
GHOST Japan
THE GIANT HOGWEED ORCHESTRA Finland
GLOSSOLALIA Multi-National
GO-NEKO! Argentina
GOAT Sweden
ALAIN GORAGUER France
CARY GRACE United Kingdom
GRAILS United States
GREEN MILK FROM THE PLANET ORANGE Japan
GREY MOUSE Russia
GREYLEVEL Canada
GROUP 1850 Netherlands
GROWING SEEDS Germany
GUILD NAVIGATORS United States
HANADENSHA Japan
HANDLINGNOISE Finland
HASH JAR TEMPO Multi-National
HAUNTED LEATHER United States
HAWKWIND United Kingdom
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
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
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
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
ØRESUND 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
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