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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 D��L, ASH RA TEMPEL, CAN, G�A, 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 Pellonp��
with kind guidance and support by Windhawk



The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of

Mike (siLLy puPPy)
Andrew (Gordy)
Dan (earlyprog)
Brendan (Necrotica)

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

4.64 | 4568 ratings
WISH YOU WERE HERE
Pink Floyd
4.62 | 4755 ratings
THE DARK SIDE OF THE MOON
Pink Floyd
4.53 | 4111 ratings
ANIMALS
Pink Floyd
4.30 | 3504 ratings
MEDDLE
Pink Floyd
4.34 | 182 ratings
POLYGONDWANALAND
King Gizzard & The Lizard Wizard
4.21 | 1256 ratings
OCEAN
Eloy
4.21 | 363 ratings
LEGACY
Hypnos 69
4.27 | 165 ratings
NONAGON INFINITY
King Gizzard & The Lizard Wizard
4.25 | 148 ratings
FLYING MICROTONAL BANANA
King Gizzard & The Lizard Wizard
4.14 | 488 ratings
JURASSIC SHIFT
Ozric Tentacles
4.10 | 3322 ratings
THE WALL
Pink Floyd
4.17 | 201 ratings
KINGSTON WALL II
Kingston Wall
4.13 | 415 ratings
RITUAL
Nemrud
4.10 | 730 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.26 | 83 ratings
PRIMA MATERIA
Agusa
4.09 | 719 ratings
A TAB IN THE OCEAN
Nektar
4.17 | 145 ratings
EN ANNAN VÄRLD
Agusa
4.15 | 132 ratings
TAKO
Tako
4.57 | 27 ratings
TAROT, PART I
Magick Brother and Mystic Sister
4.06 | 761 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy

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

FOAM
Vespero
BEHOLD AND SEE
Ultimate Spinach
BABY GRANDMOTHERS
Baby Grandmothers
TAMBOURINE FREAK MACHINE
Dragontears

Latest Psychedelic/Space Rock Music Reviews


 Animals (2018 Remix) by PINK FLOYD album cover Boxset/Compilation, 2022
4.08 | 3 ratings

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Animals (2018 Remix)
Pink Floyd Psychedelic/Space Rock

Review by alainPP

4 stars Pigs on the Wing (Part1) the guitar in the back that makes you turn around, well let's watch for the differences Dogs for this sound there in front of you on the left, yes the musical space opens up, yes the voice is there in front of you, yes well I had already put the 5.1 before this reissue, so the difference is good for nitpicking; ah yes the drums are more muffled, less acute, yes I had to bring out the original album; yes the keyboards are more marked with the warm Hammond, it seems less flat; Afterwards, do I still have the same ear as the last listening which must have been more than 5 years ago? Should we stay with our current albums and not open up to new releases, since time is running out!? A good metaphysical question, look at the dog, the dogs, yes they are in the house, check that they are not pooping; yes the guitar, this guitar is ripped GILMOUR who dared and which is magnified here with these notes of his Telecaster which squirt in front of you, guaranteed sound effect; well the break yes with the reverberation, the dog barking endlessly, the drum, there you can be surprised by these sounds which really come out of the speakers to come caress your ears, listening time where we had the time; That's it, the wave picks up again, and the pleasure of hearing the fat drums, yes the sound has that little extra, then do we have to become such a perfectionist? Well shush I'm listening to David's last solo which bewitches me, ah yes all the same, and Rick's keyboard is on the other side of the room.

Pigs (Three Different Ones) is worth for the more present, percussive drums, yes I almost want to make space in my room that is to say; yes the bass sounds modern, aggressive, yes the voices ah yes there to the left behind me; well the grunts come out from everywhere, it was already the same; Well, you would think you heard them pronouncing the 'Never Surrender' of the great CHURCHILL; the vocoder voices go over my head; I feel more like I'm watching a musical fireworks show than prog rock here, but that's good too; these grunts, these voices come to attack you on your seat, while you are there in peace, let me listen to my music, 1984 I have already read it; yes which of the egg, the chicken; yes which is the extreme, the one we are talking about or the other? George is guiding us today. For the music... Roger sings well and strums well, the bass itself seems to speak about the current madness, good excellent all the same and the sheep start to bleat before their track Sheep gently, the joy of the concept album, no time to breathe; a creamy, melting rendering of the keyboard, and this bass so speaking in crescendo; 2 enjoyable minutes of a cottony intro before Roger's shouted voice on an 80's disco dub with Rick's jazzy-looking keyboard, at a rhythm that immediately makes you headbang, watch out for your neck, you're not 20 anymore ; the synth squirts, swirls, it sets fire, no need for RAMMSTEIN effects in the end, yes I haven't found anything better; ah the sound that swells and swells and the languorous keyboard that settles in; yes I must admit I didn't like this album, too linear, monolithic, too flat, yes I found that not much was happening... Yes; well sheep, the vocoder is like on the SCHULZE with Arthur BROWN who had started the song, a great, immense voice too; ah that's it we're already at the end with this rhythm guitar which sprinkles us with notes of icing sugar, ah yes the space is fuller there too, there's a difference; good concept we said, the bird comes back there with these famous sheep, maybe you who knows... Yes ORWELL was not wrong since it is still one of my bedside books; for the concept to go to the end we conclude with Pigs on the Wing (Part Two) for the outro, no for act 2 all in the acoustic beauty of this very particular, so avant- garde, so musical world that is PINK FLOYD. An acoustic that seems to be played by the speaker itself, where are we going?

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.21 | 1012 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by sgtpepper

3 stars I was not expecting any new Pink Floyd album, certainly not 6 years after Wright's passing. Looking at former reviews, it looks like a polarizing album. Long-term Pink Floyd are emotional about this release of the three PF giants, whereas occasional PF listeners and hardcore prog-rockers won't get impressed.

I consider circumstances before rating the album. The remaining musicians had no intention to set the boundaries, cash money or release their ego. It is a floating journey, well matching the cover on the album. Close your eyes, think back and get lost in the guitar emotions carried by keyboards. Enjoy the focus on instrumental music, no need for words and imagine how these 3 lads jammed in the studio (unless you have the deluxe edition which features several 90's videos). This album would have been a lackluster had it been released before Wright's departure. But in the context of 2014, it is a fitting good-bye, if a non-essential PF album.

 Ilion by SLIFT album cover Studio Album, 2024
4.29 | 30 ratings

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Ilion
Slift Psychedelic/Space Rock

Review by alainPP

5 stars 'Ilion' begins by bringing in water, fire and hell; industrial metallic sound of Metallica, ambient and dark-doom energy of old Led Zeppelin; new air which swells, gives into the extreme; the voice is composed before being shouted, the bass unfurls the fire, the drums sow discord. 'Nimh' solemn rise, violence in the animal state, crimsonian break with the monolithic guitar throwing confusion, the voice resumes, the guitar trumpets, the tortured sounds like those of an anaconda; angelic choirs finally setting the sound. Reminiscences of the legendary Isis. Organic piece where the progressive vein flows drop by drop from the still. 'The Words That Have Never Been Heard' long track punctuated by an industrial, electric frenzy; weighted percussion lets the fiery-primal torrent flow into our ears. Comes a disembodied guitar solo from which belched and orgasmic notes emerge; the electric acoustics establish the post-rock atmosphere, finally calming the ardor; segue into 'Confluence' and Etienne's stratospheric sax sealing the two pieces; the Prog begins to pulse, the sound groovy, invasive, atmospheric and its strident guitar; the frenetic rhythm ultimately discordant, confusing.

'Weavers' Weft' for the slap with the solemn melancholy sound, on an ambient, evil Sabbath; a caravan of brigands from beyond the grave protecting our crumbling planet; experimental title roaring like a resurrected Monster Magnet, a prog bloodthirsty Tool; note the Japanese finale with delicate introspective notes. 'Uruk' same vein: latent ambience and nervous solo twisting in every corner of our ears, weighted sound which becomes hypnotic, mantra of the new decade, Genesisian keyboard of the 80s before the feverish finale, put into a trance; crucible of fury and languor. 'The Story That Has Never Been Told' with the lit keyboard of a Duke encore; crystalline air from another space-time bringing the sabbatical break with the Gregorian choirs of the Beginning; overloop suite reinforcing the stoner psyche and inviting you to trance. 'Enter The Loop' as an outro and spinning tune, Olympian, ethereal, mixing our senses and leaving our soul empty with each musical wave.

Slift releases an exceptional album, 4/5 but given the exaggerated ratings I give it a 5 for this essential character. (Originally on Progcensor)

 Progressions Imaginaires by PERILYMPH album cover Studio Album, 2024
4.33 | 12 ratings

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Progressions Imaginaires
Perilymph Psychedelic/Space Rock

Review by David_ProgCritique

4 stars Admire this cover which smacks of psychedelia from the 60s and 70s, leaving little doubt as to the musical content of this discographic object. Bring out the mellotrons, the tube amps, the Fuzz pedals! Here is Perilymph and his fourth album 'Progressions Imaginaire', a kind of potion capable of reviving the nostalgic fiber of psychedelic prog lovers. The album is made up of four long tracks, linked by numbered interludes, all framed by an intro and an outro and entirely sung in French.

The short "Intro" develops a theme in the form of an instrumental build up. The characteristic sounds are there, small mention of the drum sound, very dry and precise. The first long track "Les Yeux" is linked without pause and presents another of the group's specialties: the vocal line is systematically doubled with keyboards or other instruments. The title alternates passages sung in French (which is unusual enough to be underlined) and breaks, instrumental restarts, without any concern for futile technical demonstration. In the process, the acoustic guitar of "Interlude 1" blends perfectly with the previous track and offers a beautiful melody carried by singing straight out of a daydream. "Loin Du Bruit" arrives with a rhythmically complex dynamic and a little South American touch. The group manages to vary the atmospheres and orchestrations, while maintaining the same rhythmic pattern. Return of a small guitar arpeggio on "Interlude 2" which takes up the melodic motif of the previous piece and the singing line of "Interlude 1". Great feat. "Adventure" is the longest song on the record. At a slower tempo and in a psychedelic atmosphere, it can at times evoke Pink Floyd , the overall sound becoming thicker and thicker as the track progresses.

A jazz tempo, almost bebop, features "Interlude 3" which offers unexpected chord changes and makes me think of a soundtrack from a television series from the 70s. Then comes the single "Un Instant Ou Deux", a kind of psychedelic pop ("Far from here, under the clouds, where time belongs to me, I flee, before the storm, into the uncertain horizon?"), with "twang" guitars, keyboards and vintage sound effects. The album ends with a final Interlude (4) whose guitar plan resembles the beginning of "Stairway to heaven", then the "Outro" which takes up the theme of the "Intro" with an additional dose of orchestration.

A little anachronistic UFO, 'Progressions Imaginaires' is a coherent and mastered album that makes no concessions to modernity. It takes us back to a period of unbridled and relaxed creativity, far removed from the constraints of profitability of current music. So, let's embark in this time capsule and relax away from the noise of the contemporary world.

Review originally posted on www.progcritique.com.

 Hall of the Mountain Grill by HAWKWIND album cover Studio Album, 1974
4.03 | 513 ratings

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Hall of the Mountain Grill
Hawkwind Psychedelic/Space Rock

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

5 stars The general formula of the first three albums of British space rockers HAWKWIND was to deliver a pummeling series of guitar riffing with a bass and drumming intensity to match accompanied by slinking swirlies of synthesizers that offered a psychedelic whirlwind affects over a well established rhythm section. After three studio albums and a phenomenal live offering, HAWKWIND experienced a major shakeup in its lineup with the loss of Robert Calvert who stocked the band with an ample supply of creative poetic prose and lyrical brilliance including his spoken word interpolations. If that wasn't bad enough, long time synthesizer wizard and production pioneer Del Dettmar also jumped ship thus leaving HAWKWIND in a most awkward position - either reinvent itself or perish.

Well up to the challenges of the world of change, HAWKWIND emerged all the better for it with its fourth album HALL OF THE MOUNTAIN GRILL which took its inspiration for the title from the 1875 Edvard Grieg score titled "In The Hall Of The Mountain King." The new lineup featured Simon House who was a classically trained violinist and keyboard player and had played with both High Tide and the Third Ear Band. The new lineup meant a new chapter and the band expanded its musical repertoire with gusto. The album showcased a considerable expansion not only compositionally but sonically and creatively with the use of new instrumentation and a focus on more diverse tracks that allowed hitherto suppressed elements that were insinuated but never really fully explored to find a new lease on life and became a major aspect of the the new HAWKWIND sound.

Starting off with the exceptionally strong track "The Psychedelic Warlords (Disappear in Smoke)" the HAWKWIND stylistic approach became much more song oriented with extremely catchy melodies and a less bombastic backing of the guitar, bass and drums. The music exhibited a more balanced feel between the uptempo rock aspects and a symphonic keyboard backing that also found moments of jazzy saxophone squawking, flute runs and oboe. While the general HAWKWIND rhythm section had stayed pretty much in tact, the sophistication of the composition was allowed to step things up a few notches with lead vocalist Dave Brock offering a more diverse vocal style and lyrically speaking the band did not suffer one iota from the loss of Robert Calvert's departure. Taking things in a totally new direction began with the second track "Wind Of Change" which shifted the focus on an ambient instrumental space rock section before breaking back into the more rock oriented "D-Rider."

The beauty of the album is how it alternates between the heavier rockers and the softer pieces such as the piano-based "Web Weaver" which tames the guitars into the backing piece of unpredictable psychedelia while a piano roll provides the main melody and the band engages in some beautiful vocal harmonies followed by some bluesy guitar soloing and all accompanied by the same synth swirls that the band had become synonymous with. While the band engaged in a total remake of its sound, tracks like the heavy hitter "You'd Better Believe It" kept the past firmly placed in the present with an emphasis on the Lemmy fueled guitar riffs and bass and drum action however this time around it also featured Simon House's exquisite violin playing emphasized rather than the spacey synths of previous releases. The title track tames it all down again with a short orchestrated classical piano piece before unleashing the boogie rock guitar riff heavy "Lost Johnny" courtesy of Lemmy who would later cover in Motorhead.

The album perfectly ends with the strange short ambient meets flute track "Goat Willow" followed by the extremely addictive rocker "Paradox" with its perfect chord progressions, bass groove and contrapuntal synthesizer parts. The vocals are also of classic HAWKWIND mode and provides the most satisfying conclusion to what many consider one of HAWKWIND's highlights of its career. HALL OF THE MOUNTAIN GRILL has always been a love at first listen sorta album but after time it really sinks and showcases how the band stepped everything up in the absolutely perfect way by keeping the album well balanced, by offering totally new aspects to the band's sound without jettisoning everything that came before. In the time of great change HAWKWIND displayed on their fourth album a phenomenal step up in maturity in terms of songwriting, compositional arrangement and instrumental interplay. This is perhaps my favorite of all their albums but the entire early 70s stock is so beautiful it's hard to pick on any given day. Any way you slice it this is a HAWKWIND masterpiece.

 Obsolete by HEDAYAT, DASHIELL album cover Studio Album, 1971
4.03 | 89 ratings

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Obsolete
Dashiell Hedayat Psychedelic/Space Rock

Review by Nickmannion

4 stars Is this a long lost pre Gong Gong album? Well only if you think that a band acting as the backing band for an artist and doing what the named artist asks of you (the best example I can offer is The Groundhogs when they backed John Lee Hooker...great JLH album...but not a Groundhogs album) is, then ok. I'm not convinced. I know people will say 'but DH wasn't a musician as such' ...fair point...but neither was Beefheart yet he directed his band/s to do it exactly the way he wanted it done. Having said all that, is this a good album? Oh very much so yes...and I promise not to get hung up on the backing band.

It is again one of the few albums I have in both formats as my original vinyl has 'seen better days'. I would recommend the remastered version of the CD....I think they did a limited LP run too....pops and hisses aside of my original, the sound is much much better.

And click play: Yup it is in the right category. This is as psych/space rock as a very very psych/space rock thing. What reference point would you use if you didn't know the musicians? You may get to mentioning Gong, but by no means first and foremost. We can only imagine what DH thought was the best soundscape for his lyrics/voice/spoken to be enhanced or represented by but this does fit well. I would question his state of mind/drug/s of choice if anyone thought Fille de L'Ombre works . And this from a guy (me) who has a near full Acid Mothers Temple catalogue! Sometimes noise is just noise... Being a Meanderthal kind of person I am a big fan of the 21 min Cielo Drive with its wanderings and seeking of the most interesting paths to get to its destination. DH 's vocals are close to a French crossover pop/chanson guy of the day called Michel Polnareff which is a bit of a juxtaposition. It may be intentional or accidental. We will never know.

Anyhow I shall cease meandering. If I want Gong I reach for Gong, not this. But I will reach for this on its own merits.

Well over 4 stars but a 5 would be a tight fit by the PA criteria.

 King Gizzard and the Lizard Wizard & Mild High Club: Sketches of Brunswick East by KING GIZZARD & THE LIZARD WIZARD album cover Studio Album, 2017
3.62 | 91 ratings

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King Gizzard and the Lizard Wizard & Mild High Club: Sketches of Brunswick East
King Gizzard & The Lizard Wizard Psychedelic/Space Rock

Review by GameSwitcher

5 stars This is a particular style of music that they haven't really touched since this album, but I think this album works perfectly, blending the jazzy chords and melodic notes with the indie rock that they oh-so-love. I'll be honest, I wasn't thinking that I'd be as fond of this album as I am now, I was definitely considering 4 stars, but didn't think I'd bump it to 5. In the context of listening all the way through, this album flows so well, blending the acoustic and electric instruments with ease all the way throughout the entire album. The mood is consistent, yet has diversity when it comes to specific songs, and the songs hold up really well by themselves. This diversity is definitely aided by the fact that they worked with Alex from Mild High Club who certainly influenced the album in a more jazzy direction with the instruments and chords especially. The synths that they use are really fun to listen to, especially the mellotron, microtonal synths, and the various electric keyboards that they use. Harmonically this is one of their strongest albums because of how experimental they got with them. In previous albums like Nonagon Infinity were pretty straight forward with their chords, but this one uses a lot of alt chords to match the chill, jazzy aesthetic. They also went with a more city vibe on this one, using street sound effects throughout that make it sound like you're listening to this outside, which is awesome because it actually feels like you're in Brunswick East. They pull inspiration from some of their previous albums like Paper Mâché Dream Balloon, a little bit from Flying Microtonal Banana, and Oddments. This album features a return to some microtonal music which works amazingly in the sections it's used. It features a lot more instrumental interludes throughout, and flows all the way through like one long recording which works really well.

Sketches of Brunswick East I This one does a great job setting up not only the tone of the album in its entirety but also the melodies heard on each of the 3 self-titled songs. The melody is set up great, and I love how it develops over the course of the songs. I love the vast difference that this album has with its predecessor, especially seen in this song as it's very chill and collected. The delicate acoustic instruments on this one like the flute (and the cool effects they layer on it) as well as the piano. Overall this song is a great opening to the album!

Countdown Now I love pretty much everything about this song except for the vocals. Stu's strained vocals on this one just don't really work for me, I used to absolutely hate them, now I'm just not fond of them. When the song layers the vocals on top of each other at the end, that is pretty cool and works for the song. This song does make up for it for having some really cool time signature changes and the flow of the song harmonically works great. The vibraphone on this one is a great addition to the song and adds the acoustic vibe that they have going. Also the electric keyboard solo on this one is really good, I love how it pans between ears mimicking the dizzying nature of the solo itself moving quickly.

D-Day The counting down lyrics on this one and the bass line stand out for me the most on this track, as well as the return of some microtonal synths and guitars. They blend the instruments really well on this track and it sounds really good with just how much is going on rhythmically. The little synth solo sounds really great, and I love how cool some of the effects on these synths are to get these sounds. The ending playing Tezeta but slowed down is pretty cool, and another trend on this album of imitating a record skipping sound.

Tezeta The varied vocals on this one really make this chorus especially sound very chant-like. I also enjoy how it uses Joey, Stu, Han-Tyumi, and other people to tell the story, not just one person in typical Gizz fashion. This one is certainly one of the more catchy songs on this album and it can be a little hard to follow on the verse, but it works so well seeing how playful it feels. The chord progression moving from i-iiø compliments the vocals a lot as well, and once it finally resolves to the V it sounds great. The second verse switching up to 6/8 illustrates the amount of creativity these guys have, really wanting to play with the time signatures in these songs to assist the storytelling. Also when they bring it back to 12/8 it sounds super resolved. I'm not sure of what synth they use at the end of the solo but it sounds great. Also this song supposedly gives us more lore so points for that as well!

Cranes, Planes, Migraines Probably my favourite of the instrumental interludes on this album. The 7/8 feel on this one especially stands out, and when it bounces between 4/4 it creates a really fun song to count out in your head. The bass line is great on this one, which seems to be a trend on this album. They definitely focused on a lot more of the instrumental stuff going on, not that they don't on other albums, just that this one seemed to get a lot of love. Also the harmonised flutes sound awesome.

The Spider and Me Certainly the silliest song on this list and the most absurd lyrics wise. I mean it's literally about being in love with a spider so uh, yeah. Pretty strange. Doesn't deter me from this one, honestly it's really fun to sing this one, and the lyrics have some really pretty moments like the "Laze in the afternoon sun, gazing at each other's beauty". The mallet percussion really aids the rest of the song on this one. Also the wah pedal sounds really good, especially with the various strumming patterns throughout. I like to think that they accidentally made the section that sounds very 'bow-chicka-wow-wow' in mood and just decided to roll with it, but who knows. Definitely one of my favourite songs on this album.

Sketches of Brunswick East II Another really good interlude, and listening all the way through, it's nice to get an album with more instrumental moments. The old timey intro is a fun change of pace for the songs, and transitions pretty well with another record switch kind of moment. It helps that this song is also in a different key, aiding with some of the change that's needed between the 3 songs. The flute melody sounds great once again, bringing back the familiar theme. The chordal electric keyboard solo is such a cool addition especially with how it moves out of key. I'm pretty sure the tonal centre is like an F phrygian, and the piano moves between Bb, B♮, Eb, Db, to resolve to Fmaj7/C, which can certainly be given credit to Alex from Mild High Club and his input. Along with those keyboard additions, the electric flourishes in the background are a really great detail on this track especially. All the instruments on this track blend really well, and create a great atmosphere.

Dusk to Dawn on Lygon Street I enjoy the beginning and the end of this song a lot, they set up an entirely different riff and it's a lot of fun. Also the intro/outro are really interesting chordally. The bass line is really front and centre in portions of this song which is really cool to listen to, especially with how melodic it is. The lyrics are so cute, and have some of the prettiest imagery on the album. The extra vocals that Cookie does are a great addition, and add to the silly nature of the song. When the bass does the minor modulation with the added sound effects, it really puts you in the location that they set up, and actually feels like the sun is setting and rising. Honestly this song is probably my favourite that Cookie has made.

The Book This is my favourite song that King Gizz has ever made. Easily it takes first place and I would honestly rate this song 11/10 just for how good it is. The microtones in this one and the riff that plays at the beginning with the synth sounds amazing, it adds to the eeriness of the story, and hearing it return throughout the song is so effective. I love how the story reflects the fact that every city has its problems and dangers. In this case the theme about religious insanity is so cool and really creepy. Hearing this song for the first time gave me chills for how well it worked for me. Especially when the instrumentation thins out and he says 'God, gave me a knife' is SO good. The sirens in the background as well, still reflecting the street sounds we hear in the album but a lot more ominous. Stu's vocals on this song are some of his best in my opinion, mainly because his voice is gravely enough and in the style that he does his metal songs in, but also because it fits the character he's singing as. Also the vocals in the background of this one work really well especially in the 'So I set up my sign, and told the passers by' section. The instrumentation is perfect on this one, utilising the microtonal synths alongside the bass, wah pedal, and excess synths with the latin style drumming. Every instrument gets its own highlight on occasion, especially the Latin percussion. The solos on this one work incredibly well, the back and forth between the toms and the keyboard is just so perfect. Chordally the song mostly just moves from E- to E diminished and it works so well, especially with the microtones thrown in. Also the chromatic bass when heading back into the chorus is amazing, and a fun switch up in the progression. The form of the song and especially with how it breaks down after the solo's and strips down to just drums and melody works really well to set up going back into the final chorus. Genuinely my favourite bits of composition from them ever, merging simple and complex ideas when needed and it flows so well. I will never forget the first time I heard this song and immediately adding it to my playlist.

A Journey to (S)hell Not a super amazing song, and it's especially overshadowed by the much better songs on this one. Also in terms of transition songs, this one is definitely the weakest one to me. It's got a really good bass line, some different synths (some work better than others, but they get a bit pitchy on this one). The funny little sound effects on this one are good, as well as the ending that teases You Can Be Your Silhouette using the distorted record skip style cuts.

Rolling Stoned Now in contrast, this one is probably the best transition song on the album. The melody is fantastic on this one, really catchy and really fun to count with the added time signature stuff. The instruments on this one are really well balanced and offer a lot in the way of rhythmic and harmonic interest. The use of the synths is much better on this one, featuring more interesting solos and just a really great vibe all in all. The acoustic piano on this one adds just an extra bit of instrument diversity, plus the kind of lo-fi jazz vibe works really well, and everything blends incredibly nice. The ending as well is great with how it cuts off before starting another A section.

You Can Be Your Silhouette This song especially is incredibly reminiscent of Paper Mâché Dream Balloon it is. It really pulls back the mood to an even more calming tone and melody throughout, even with the various riffs. The use of harmonica amplifies this, it's just very well formed overall. The boss drums really stand out and make this one unique, plus the really great chord progression in the first section. The transitions to the phrygian section near the end works great seeing as how different the riffs are, they just make it work so well. I like the super ambiguous ending, but I think I would've preferred a return to the A section, that's just me though.

Sketches of Brunswick East III This one is just another wraparound to the beginning theme, and sort of acts as the sun setting on the town as the album finishes. The theme feels finalised and complete, repeating the same progression and melody that we've heard, except maybe a little more calming. I enjoy how it's shorter and doesn't dwell super long, but once again this final instrumental doesn't really top any of the other ones on the album either. However it serves its purpose as the final song on the album.

Issues: The album has so many instrumentals that some get overshadowed compared to others, and some of the synth choices I consider to be a bit questionable. Really minimal complaints honestly.

Strengths: It's well formatted, interesting, unique, and brings a lot to the table seeing as how they worked with an outside person to help make this album. It has some really great melodies and lines, and keeps its ideas fresh and consistent. A really amazing entry in their catalogue.

This album after sitting on it for a while grew on me so much. I hold King Gizzards calm and collected albums in high regard, mainly with the level of balance and interest that they produce. This one's probably around the 4.7 stars for me, with it being one my favourite albums they've ever released.

 Уhуктуу by CHOLBON album cover Studio Album, 1989
3.00 | 1 ratings

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Уhуктуу
Cholbon Psychedelic/Space Rock

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

— First review of this album —
3 stars One of the stranger bands to emerge from the USSR didn't come from Moscow or Saint Petersburg but rather from the heart of Siberia in the extremely remote village of Namtsy located way up in the Sakhan Oblast just south of the Arctic Circle. This is an isolated region with no roads in or out and only long winters to soak in any viable entertainment humanly possible. This is also the region of the Yakut people who populate vast tracks of land that extends far and wide across Eastern Siberia. Ironically the Yukut language is in the Turkic language group which means its origins have nothing to do with the Slavic tribes that eventually colonized what is now called Russia.

Despite the most unlikely of settings, the tiny Namtsy produced one of the strangest space rock / shamanic tribe freakery of the modern era in the form of CHOLBON which got its start in 1986 and named after the morning star / planet Venus in the Yakut language. While completely isolated for the early years of its existence, the band was discovered by the Moscow based experimental art punk band Zvuki Mu in the late 1980s who was touring in the Sakhan region and invited the band to play outside the isolated regions of Siberia therefore CHOLBON gained a much wider appreciation throughout the former Soviet Union for exhibiting a very strange hybrid of music sounds that mixed the world of progressive space rock with traditional shamanic Sakha music.

The band of which has gone through many lineup changes over the decades started out with brothers Namoly Ilyin (bass guitar) and Grigory Ilyin (guitar, vocals) and emerged as a collective with a rotating cast of participants. The band's debut album Уhуктуу came out in 1989 and featured the bizarre mix of Pink Floyd inspired progressive rock along with the traditional local flavors that encompassed the traditional musical folk styles of the Sakha culture. The band used both rock / jazz instruments which included electric guitars, synthesizers and the saxophone as well as the traditional instrumentation that accompanied Sakha ceremonial music and shamanic excursions into the world beyond.

To say this album is bizarrely weird is an understatement for sure. While in many ways it seems aimless and really drifts through various styles of progressive space rock and shamanic indigenous chanting sessions, it would be more accurate to simply call it alienating as all lyrics are in the Yakut language and the musical motifs on board are just as distant since they gestated in isolation away from pretty much every other musical style in the world however it is interesting that Pink Floyd's music percolated into every tiny village across the globe thus triumphantly showcasing the ultimate success for a rock band! The album and band's music in general has been described as what would happen if Pink Floyd was dropped down into a Siberian indigenous culture to participate in a shamanic journey where all members participated in the musical creativity.

The album features five musicians: Yuri Vasiliev (Dyuur Bakhlai) - Jew's harp, vocals, Grigoriy Iliyn - guitar, vocals, Namoliy Iliyn - bass Aleksandr Ilyin (Aleksandr Mondo) - keyboards, sax and Aleksandr Ivanov - drums and appears to feature only two tracks titled "Уhуктуу ("Пробуждение")" and "Улыбка детства моего" which add up to about 44 minutes. There seems to be no rhyme or reason as to how the band delivers the shamanic ceremonial type traditional sounds and the totally Western space rock. At times they fuse together in a bizarre cross-culture mishmash but more often drift from one style to the other. Overall this is a fascinating album from a group that emerged from seemingly the middle of nowhere. While the tripped out value is quite high on this one, the entertainment value isn't the kind of rewarding musical expressions that beckons return visits, at least very often but when the right mood hits then you really couldn't ask for a more "out there" type of musical expression than CHOLBON's 1989 debut. Definitely one for the lovers of totally outsider weirdo music.

3.5 rounded down

 Be Good To Yourself At Least Once A Day by MAN album cover Studio Album, 1972
3.90 | 95 ratings

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Be Good To Yourself At Least Once A Day
Man Psychedelic/Space Rock

Review by Nickmannion

4 stars Having possibly the best album cover ever, well ok the multi star fold out inner gate fold sleeve Mans Map Of Wales plus Deke Leonards Mans Family Jungle on the inner sleeve, what's not to like about this album and indeed the band!

For a band with a constantly recycled line up...the two mainstays were Mickey Jones (guitar/vox) and Terry Williams (drums) who went on to fame and fortune in Dire Straits (what a come down Tel!)...they managed to produce consistent albums and this one is most Man fans favourite. Their freewheeling jam aesthetic...and no, they were not the UK/Wales Grateful Dead, they were better than that.... is best found in the 4 long tracks that make up this album.

The keyboard riff that sets off, if not at a gallop then at least a damned good canter, C'mon is simple but instantly memorable with that warm now vintage sound that we associate with the best prog and related stuff from this era and the guitars add fills and complimentary rhythm as the song moves on. If prog is ever allowed to be 'a toe tapper'...I guess the jury are still out and stroking their beards on that one....then this is exhibit one m'lud. I sometimes struggle with the nasal vocals of Jones but he never goes in for hand wringing (well you can't if you are playing the guitar at the same time but run with it...) and strained emotions. The song then slides into a trippy slower section and the band use cleverly stacked vocals to create a choir type sound which pushes us back to the 'alleged' toe tapping riff/solos/rpt and end. Keep on Crinting is just a feel good well constructed instrumental with a slight flavour of country/rock (Bronco anyone?). Bananas is their celebration of all substances illegal, well, one in particular, and they do sound like a band fueled by it if we are honest. Then...Life on the Road eh! Who would have thought a 4/4 shuffle would fit perfectly on a 'prog' album, but it does you know! Will Youatt sings this one and his slight slur works well and this is real good time stoned vibe stuff...and exhibit 2 in the 'toe tapper' trial. You know, I'm going to flip it back over and play the album again. That says plenty. After that I might go and talk to some trees....

And if you ever come across Clive Johns You Always Know Where You Stand With A Buzzard album (1975) give it a try.

 Unholy Majesty by KEMP, ROSE album cover Studio Album, 2008
3.06 | 7 ratings

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Unholy Majesty
Rose Kemp Psychedelic/Space Rock

Review by Nickmannion

3 stars I picked this up very cheap at a car boot when I realised Rose Kemp was very much 'a relation' and it surprised me when I gave it a spin....but in a good way! I guess we shouldn't be taken aback that she started out having been steeped in mum and dads influences (is that dads violin in Dirty Glow?)...and I still maintain there are 'folk' stylings in some of the songs here...Milky White and its use of eastern scales meets old school prog/folk with a hint of kraut drone as one example. But, to my ears, the overall feel is of Jeff Buckley (Bitter and Sweet especially) fronted...ok, ok a solo artist can't be fronted...by the singer/s from Mostly Autumn on a very heavy prog day....having just listened to Jan Dukes de Grey....and this is no bad thing. Just don't expect any acoustic interludes and fingers in ears but lashings of a darker more gothic atmosphere....and next to zero 'space rock/psychedelia'...what's that categorisation all about?!

A fine album that blends influences into a coherent whole and better than the early average rating it has (currently 3.18) but I can't quite give it a 4...it is more a 3.5 ish.

Data cached

Psychedelic/Space Rock bands/artists list

Bands/Artists Country
10000 RUSSOS Portugal
3 LEAFS United States
35007 Netherlands
3RD EAR EXPERIENCE Multi-National
THE 4 LEVELS OF EXISTENCE Greece
ABSTRACCIÓN Spain
ABUNAI! United States
ACID FLORIANI Russia
ACID MOTHERS TEMPLE Japan
ACID ROOSTER Germany
ACTION & TENSION & SPACE Norway
AD'ABSURDUM Switzerland
ADDICTHEAD Switzerland
AGAMEMNON Switzerland
AGUSA Sweden
AHKMED Australia
AHORA MAZDA Netherlands
AKASHA Norway
ALAMEDA 5 Poland
ALASEHIR United States
ALBER JUPITER France
ALCÀNTARA Italy
ALEX DELIVERY United States
ÄLGARNAS TRÄDGÅRD Sweden
ALHAMBRA Italy
ALICE France
ALIEN PLANETSCAPES United States
ALIENTAR United States
ALITHIA Australia
ALMUADEM Portugal
ALPHA NORD Germany
ALPHA OMEGA Australia
ALRUNE ROD Denmark
AMARIONETTE Portugal
AME SON France
AMGALA TEMPLE Norway
AMONULLUNOMA Ireland
THE AMORPHOUS ANDROGYNOUS United Kingdom
AMPACITY Poland
AMPLIFIER United Kingdom
ANALOGY Italy
ANDROMEDA SPACE RITUAL Poland
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
APHODYL Germany
APPALACHIAN TRANSLATOR United States
APRYL FOOL Japan
APTEKA Poland
AQUA NEBULA OSCILLATOR France
AQUANAUT Australia
AQUARIUS LUX United Kingdom
AQUASERGE France
AQUELARRE Argentina
ARCADIUM United Kingdom
ARCHITECTURAL METAPHOR United States
ARIES Greece
ARILYN Germany
ARTIFACTS & URANIUM United Kingdom
ARZACHEL United Kingdom
ASSEMBLE HEAD IN SUNBURST SOUND United States
ASTRA United States
ASTRAL MAGIC Finland
ASTRAL SON Netherlands
ASTRALIA Italy
ASTRODOME Portugal
ATAVISM OF TWILIGHT United States
ATAVISMO Spain
ATAXIA United States
ATHENE NOCTUA Italy
ATLETA Spain
ATMOS United States
ATOMIC SIMAO Ukraine
ATON FIVE Russia
AURORIS United Kingdom
AUTO DRIVE SYSTEM Italy
AUTOMATISM Sweden
AVARUUSKORPRAALI PAHA HIRVI Finland
AXE United Kingdom
AYAHUASCA DARK TRIP Multi-National
AYERMANIANA Argentina
BABA SCHOLAE France
BABILS Belgium
BABY GRANDMOTHERS Sweden
BACHDENKEL United Kingdom
BACKSTREET ROMEOS Germany
BAIKAL United States
BAND OF RAIN United Kingdom
THE BAND WHOSE NAME IS A SYMBOL Canada
BARDO POND United States
BARN OWL United States
BARNDOMSLANDET Sweden
BARRETT ELMORE Sweden
BARROWS United States
MASAKI BATOH Japan
BAULUNA Spain
BËIRUTH Spain
BEYOND-O-MATIC United States
BIG RED PANDA Portugal
BIRTH United States
BLACK BOMBAIM Portugal
THE BLACK CAT'S EYE Germany
BLACK LIGHT SECRET United Kingdom
THE BLACK NOODLE PROJECT France
BLACK SCIENCE United States
BLAND BLADEN Sweden
BLAST FURNACE Denmark
BLIM United Kingdom
BLONDE ON BLONDE United Kingdom
BLOOMCORE Australia
BLUE PHANTOM Italy
BOAT BURNING United States
BOSQUES Argentina
CHRISTIAN BOULÉ France
BRAINSTORM Australia
BREMEN Sweden
DAVE BROCK United Kingdom
BROTHERHOOD OF THE MACHINE United Kingdom
BROWN SPIRITS Australia
ARTHUR BROWN'S KINGDOM COME United Kingdom
BRUJAS DEL SOL United States
BUHO ERMITANO Peru
BUNNIES United States
BURNT NOODLE United States
ROBERT CALVERT South Africa
CAMEL United Kingdom
CANTERBURY GLASS United Kingdom
CAPITAL SENTIMENTAL Netherlands
DYLAN CARLSON United States
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
CAVE United States
CEDITH Turkey
CENTRIC JONES United States
LES CHAMPIGNONS Canada
CHARLIE & ESDOR Sweden
CHICAGO ODENSE ENSEMBLE Multi-National
CHICKENCAGE EXPERIENCE Germany
CHILLIWACK Canada
CHIMERA United Kingdom
CHOLBON Russia
CHROMA KEY United States
CHROMIUM HAWK MACHINE United States
CIOLKOWSKA Russia
CIRCLE Finland
CIRCUS 2000 Italy
COBALT BLUE Brazil
COBRA FAMILY PICNIC United States
COCK C'NELL Japan
CODEX SERAFINI United Kingdom
COLD SUN United States
COLORSTAR Hungary
COLSTER Italy
COMA STEREO Slovenia
COMETS ON FIRE United States
LA COMPAGNIA DIGITALE Italy
O CORVO MUDO Portugal
COSARARA Italy
LAS COSAS Argentina
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COSMIC TRIGGERS Russia
COSMIC TRIP MACHINE Belgium
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COSMOS FACTORY Japan
CRACKED MACHINE United Kingdom
CRANIUM PIE United Kingdom
THE CRAZY LEFT EXPERIENCE Portugal
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
DA CAPTAIN TRIPS Italy
DALIBOROVO GRANJE Croatia
DARK BUDDHA RISING Finland
DARK SUN Finland
DARXTAR Sweden
DASPUTNIK Finland
DATETENRYU Japan
DAUDANE France
ALAN DAVEY United Kingdom
DAY OF PHOENIX Denmark
DAY SHIFT United Kingdom
DE CRONOPIOS Argentina
DEAD MAN TELLS Russia
DEAD MEADOW United States
DEAD SEA APES United Kingdom
DEAF SCENE United States
DEBRIS OF TITAN United States
DEEP SPACE DESTRUCTORS Finland
DEIGEN Japan
DELVING Germany
DEN DER HALE Sweden
DER NEUE PLANET Germany
DHIDALAH Japan
DHVANI Italy
EL DIABLO Mexico
DOMBOSHAWA Sweden
DOMO Spain
THE DOPPELGÄNGERS United States
DOWNLOUDERS Italy
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
DUNST Germany
THE EARLIES Multi-National
EARTHLESS United States
EARTHLING SOCIETY United Kingdom
EASTERN SYNDROME Russia
EATING.SEATS Italy
ECHOLOT Switzerland
ECSTATIC VISION United States
EDEN ROSE France
EDENA GARDENS Denmark
EDGAR'S HAIR Netherlands
EGO ON THE ROCKS Germany
THE EGOCENTRICS Romania
EGYPTIAN KINGS Portugal
EIDETIC SEEING United States
EKOS Mexico
EKTROVERDE Finland
EKZILO Spain
ELECTRIC EYE Norway
ELECTRIC MOON Germany
ELECTRIC WÜRMS United States
ELEVATOR Canada
BRIAN ELLIS United States
ELOY Germany
AN EMERALD CITY Multi-National
ENDLESS VALLEY Australia
ENDWORLD HALOS Finland
THE ENTRANCE BAND United States
EQUATIONS Portugal
ERTLIF Switzerland
ESCAPADE United States
ETER-K Peru
ETERNAL TAPESTRY United States
ETHIVA Spain
EVEL GAZEBOW United Kingdom
EYE United States
F/I United States
THE FACEDANCERS United States
FAIRUZ DERIN BULUT Turkey
FALSOS CONEJOS Argentina
FANATISM Sweden
FANTASY United States
FAR EAST FAMILY BAND Japan
FAR OUT Japan
FARFLUNG United States
MICK FARREN United Kingdom
FERNANDEF France
THE FËRTILITY CÜLT Finland
FIFTY FOOT HOSE United States
FIRE WHALE United States
FIRECLAN United States
FIRST BAND FROM OUTER SPACE Sweden
FISH EYE LENS United States
FJODOR Croatia
FLAW & ORDER India
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
THE FORMLESS FORM United States
FRAKTAL Argentina
FROGGIE BEAVER United States
FROLIC FROTH Mexico
FROM GROTTO Finland
FROZEN GEESE United Kingdom
FUNGAL ABYSS United States
FUNGUS HILL Sweden
CHRIS FUNK United States
THE FUTURE KINGS OF ENGLAND United Kingdom
GALACTICKA Finland
GALÁPAGOS Argentina
GALAXY Germany
THE GATE TO ALPHA CENTAURI United Kingdom
GDEVA Russia
GHOST Japan
GHOSTS OF JUPITER United States
THE GIANT HOGWEED ORCHESTRA Finland
GLASWALD Germany
GLOSSOLALIA Multi-National
GO-NEKO! Argentina
GOAT Sweden
GONDHAWA France
ALAIN GORAGUER France
CARY GRACE United Kingdom
GRAIL United Kingdom
GRAILS United States
GREEN MILK FROM THE PLANET ORANGE Japan
GREY MOUSE Russia
GREYLEVEL Canada
GREYSCALE Australia
GROMBIRA Germany
GROOP United States
GROUP 1850 Netherlands
GROWING SEEDS Germany
GUILD NAVIGATORS United States
GURU & ZERO United Kingdom
HADAL SHERPA Finland
HAEKA Italy
HANADENSHA Japan
HANDLINGNOISE Finland
HANDWRIST Portugal
HARPO JARVI United States
HARVESTMAN United States
HASH JAR TEMPO Multi-National
HAUNTED LEATHER United States
HAWKWIND United Kingdom
HEAD SPIN United Kingdom
A HEADFULL OF MONSTERS United Kingdom
HEADROOM United States
THE HEADS United Kingdom
HEAVY MOON Canada
HEAVY WATER EXPERIMENTS United States
DASHIELL HEDAYAT France
HELLBENDER United States
HEPTAGRAM Bulgaria
HERBCRAFT United States
HERE & NOW United Kingdom
HERE THE CAPTAIN SPEAKING; THE CAPTAIN IS DEAD Spain
HERU AVENGER United States
HIBISCUS BISCUIT Australia
HÍBRIDO Spain
HIDRIA SPACEFOLK Finland
HIERONYMUS DREAM Greece
HIGH DEPENDENCY UNIT New Zealand
HILLS Sweden
HIMMELLEGEME Norway
HISKO DETRIA Finland
HOLLOW DRIFTER Netherlands
HOLLOW EARTH Sweden
HOLLOW MIRRORS United States
THE HOLOGRAM PEOPLE United Kingdom
HOLY RIVER FAMILY BAND Sweden
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HOTEL WRECKING CITY TRADERS Australia
HOUSE OF NOT Canada
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HUM Germany
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HUMUS Mexico
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HYPNOS 69 Belgium
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I.E.M. United Kingdom
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ID United States
IGRA STAKLENIH PERLI Yugoslavia
IKIHEVONEN Finland
DJORDJE ILIJIN Yugoslavia
IMANISSIMO Indonesia
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IN ZAIRE Italy
INCANDESCENT SKY United States
THE INFINITE TRIP United Kingdom
INFINITY FORMS OF YELLOW REMEMBER United Kingdom
INOMATA TAKESHI & SOUND L.T.D. Japan
INSIDER Italy
INSTANT FLIGHT Multi-National
INTERKOSMOS Austria
INTERNATIONAL HARVESTER Sweden
INVERNADERO Chile
THE INVISIBLE BAND! United Kingdom
INVISIBLE OPERA COMPANY OF TIBET (BRAZIL) Brazil
ION QUEST United States
LA IRA DE DIOS Peru
IT'S NOT NIGHT: IT'S SPACE United States
IVORY Germany
IXTHULUH Austria
J. A. CAESAR Japan
JACKO WACKO Peru
JACKS Japan
ANDY JACKSON United Kingdom
JADE France
JADE WARRIOR United Kingdom
JALAYAN Italy
JASTREB Croatia
THE JELLY JAM United States
JESUS WITH ME United States
JOY HEIGHTS Japan
JUKE France
JULIE'S HAIRCUT Italy
JUUDAS ISKARIOTIN SUUDELMA Finland
KAARNA Finland
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TYLER KAMEN United States
KANAAN Norway
KANZEON Japan
KAOLL Brazil
KARABA Germany
KARAKORUM Germany
KARMA CANON United States
KARMIC SOCIETY Germany
KARUNA KHYAL Japan
A. J. KAUFMANN Poland
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