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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 | 4541 ratings
WISH YOU WERE HERE
Pink Floyd
4.61 | 4726 ratings
THE DARK SIDE OF THE MOON
Pink Floyd
4.53 | 4085 ratings
ANIMALS
Pink Floyd
4.30 | 3485 ratings
MEDDLE
Pink Floyd
4.34 | 178 ratings
POLYGONDWANALAND
King Gizzard & The Lizard Wizard
4.21 | 1242 ratings
OCEAN
Eloy
4.21 | 360 ratings
LEGACY
Hypnos 69
4.24 | 155 ratings
NONAGON INFINITY
King Gizzard & The Lizard Wizard
4.21 | 145 ratings
FLYING MICROTONAL BANANA
King Gizzard & The Lizard Wizard
4.10 | 3301 ratings
THE WALL
Pink Floyd
4.12 | 485 ratings
JURASSIC SHIFT
Ozric Tentacles
4.17 | 197 ratings
KINGSTON WALL II
Kingston Wall
4.13 | 413 ratings
RITUAL
Nemrud
4.10 | 725 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.09 | 709 ratings
A TAB IN THE OCEAN
Nektar
4.16 | 141 ratings
EN ANNAN VRLD
Agusa
4.16 | 131 ratings
TAKO
Tako
4.25 | 74 ratings
PRIMA MATERIA
Agusa
4.06 | 755 ratings
SILENT CRIES AND MIGHTY ECHOES
Eloy
4.08 | 313 ratings
TOGETHER WE'RE STRANGER
No-Man

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

LAST DAY OF SUN
Kalutaliksuak
PATAPHISICAL FREAK OUT MU!!
Acid Mothers Temple
AHORA MAZDA
Ahora Mazda
HORIZONTE DE SUCESOS
Biruth

Latest Psychedelic/Space Rock Music Reviews


 Ummagumma by PINK FLOYD album cover Studio Album, 1969
3.46 | 1926 ratings

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Ummagumma
Pink Floyd Psychedelic/Space Rock

Review by TenYearsAfter

3 stars Rick Wright: "Each member should be allowed to stretch their individual wings a bit and not be so tied down to such strict formats."

Pink Floyd has many different faces but it always sounds as Pink Floyd, in my opinion the only Classic Prog band that comes close to that chameleon-like sound is King Crimson. I discovered that after buying DSOTM and WYWH in mid- 70s when I had become a proghead. The most extreme example of the many musical faces of Pink Floyd is de 2-LP Ummagumma ('slang' for having sex, a term used by Cambridge students of that era). The first half of Ummagumma is devoted to live material (recorded at Mothers Club, Birmingham & Manchester College of Commerce, April & May 1969), and the other half is studio work, featuring each member with solo compositions.

The live LP:

Astronomy Domine : Although I miss the haunting Syd Barrett vocals Pink Floyd delivers a stellar version of this exciting highlight in psychedelic rock. It seemes the band is paying tribute to Syd, what an inspired guitarwork, including biting wah-wah, in huge tension with the following soaring Farfisa organ solo by Rick Wright. In the final part Pink Floyd works to a grand finale, fuelled by a dynamic rhythm-section, wow!

Careful With That Axe, Eugene : The unique Pink Floyd sound of the early 70s, between blues, rock and psychedelia, from a hypnotizing climate to a heavy outburst, including that nerveracking Roger Waters cry,

Set the Controls For The Heart Of The Sun : A mellow and sultry atmosphere, wonderfully coloured by Rick his Farfisa organ, along with Nick his powerful drum beats and Roger his tender vocals. Gradually the music turns into intense and bombastic, fuelled by Nick, David joins with fiery guitar work, trademark early Pink Floyd, top notch psychedelia.

Saucerful Of Secrets : The first part is the most experimental composition on this live LP, but halfway the sound shifts to mellow and melodic with swelling Farfisa organ, tension builds with slow drum beats, it sounds more and more compelling and dynamic, culminating in David his legendary 'trippy' vocal contribution, goose bumps!

The studio LP: four solo pieces from the band members, according to Rick Wright "each member should be allowed to stretch their individual wings a bit and not be so tied down to such strict formats."

Rick Wright kicks off with a four part piece entitled Sysyphus: first solo flights on the Mellotron (violin section), then from tender to sparkling Grand piano and finally pretty experimental, or name it avant-garde, not my cup of tea, too unstructured/chaotic.

Roger Waters delivers two pieces. Frist the nice acoustic ballad Grantchester Meadows with bluesy vocals. Then the very experimental Several Species of Small Furry Animals Gathered Together In A Cave and Grooving With A Pict, featuring the legendary moment with the fly, recorded in quadrophony.

David Gilmour his contribution Narrow Way Part 1-3 is also between melodic with powerful slide guitar and experimental, pretty unbalanced music.

Finally Nick Mason with Grand Vizier's Garden Party: Enterance Part 1-3), ranging from delicate flute (from his wife Lindy) to very experimental, most of it too boring.

My conclusion: Balancing between brilliant and boring. The first LP (live) is awesome, top notch psychedelic Pink Floyd, the second LP (studio) contains interesting parts, but in general it sounds too experimental/avant-garde.

 Somatic Schematic by LA HORSA BIANCA album cover Studio Album, 2018
3.88 | 5 ratings

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Somatic Schematic
La Horsa Bianca Psychedelic/Space Rock

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

4 stars LA HORSA BIANCA belies its true origins with its Latinate moniker but actually comes from Kharkiv, Ukraine, a region of Europe that is much better known for its wealth of internationally known extreme metal bands such as Nokturnal Mortem, Drudkh, Hate Forest and Ygg to name a few. This progressive rock band was formed in 2016 and has already released three strong art rock albums that have captured the attention of psychedelic rock lovers worldwide.

This debut album SOMATIC SCHEMATIC came out in 2018 and follows the trend of capturing the zeitgeist of 70s golden era artists only with a modern sheen and a propensity of snatching lost opportunities that possibly should've occurred during the classic years but for whatever reason didn't. This band features five talented members which includes Eugene Manko (bass, soprano sax, flute, Mel9-o-tron, electric organ, tenor horn, acoustic guitar, tambourine, vocals), Olga Ksendzovska (grand piano, electric organs, synth, alto trombone, vocals), Kirill Gonchar (guitar, trumpet), Andrii Bragin (guitar) and Igor Avdeyev (drums, tambourine, vocals).

While its hard to say exactly which classic 70s bands are the primary influence on SOMATIC SCHEMATIC, it is fair to say that LA HORSA BIANCA is well-versed in the entire gamut of actors that grace one of music history's most prolific eras. The opening "Parachute" for example sort of captures the classic Italian prog scene with those emphatic vocal enunciations in the form of PFM or Banco, a vocal style that despite being sung in the band's native tongue (Russian / Ukrainian) could have you believing you've discovered a long lost treasure from the heart of Italy. Other moments remind me of not only Pink Floyd, but Nektar, Camel and even early Uriah Heep yet sounding like any of those artists.

While steeped in psychedelic touches, SOMATIC SCHEMATIC also delves into outbursts of good old fashioned hard bluesy rock for several bars before jumping back into progressively infused bouts of psychedelic splendor. The strength of this album is from its diversity and the willingness to explore many avenues of sonic possibilities without sacrificing the rather accessible melodic hooks that keep rock music one of the most popular genres ever. The extensive use of mellotrons and vintage keyboard sounds anchors the album's overall feel to the zeitgeist of the mid-70s when prog was enjoying its heyday.

The heavy psych retro scene has really exploded in recent years with many bands jumping on this bandwagon but few manage to emulate those years of yore so elegantly by walking the tightrope act of authentically achieving the status of bonafide retro-naut while capturing those sounds in the context of all the advantages of a modern production job. LA HORSA BIANCA excels on all levels, not only by reengaging in a stylistic approach that would've been appropriate for the early 1970s but also by crafting an overall band sound that doesn't really bring any particular artist of that era to mind. Add to that the stellar production and mixing job of the myriad sound effects on board and it's not hard to fall for this one immediately. Great debut!

 Polemosophy by LA HORSA BIANCA album cover Studio Album, 2024
3.05 | 3 ratings

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Polemosophy
La Horsa Bianca Psychedelic/Space Rock

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

3 stars This Ukrainian band caught my attention with its debut release "Somatic Schematic" from 2018 which showcased the modern trend of all things retro in this case the long lost sounds of the late 60s and early 70s psychedelic rock scene. Fortified with an arsenal of instrumentation and a keen sense of the past, LA HORSA BIANCA delivered an excellent array of progressive psychedelic rock that while not sounding out of sync with the modern space rock revivalists, still found a way to find its own way. Somehow i missed the following "Oneiric Numeric," "Diluvian Beat" and "Welcome Back My Friends?" but here i am finally reconnecting with a lost old friend with the band's fifth release POLEMOSOPHY.

A majorly stable band (it is a HORSA band after all, snort snort), LA HORSA BIANCA has enjoyed the same exact lineup since its 2016 formation. Eugene Manko, rocks the most instruments and presumably the band leader contributes the bass, flute, saxophones, horns keyboards, percussion, acoustic guitar, mellotron, xaphoon and even orchestral sounds! Xendza rocks the pianos and theremins, Kirill Gonchar and Andrew Brahin perform the guitar antics and drummer Igor Avdeyev delivers the percussive drive. Another day in psychedelic paradise allows these Ukrainians to deliver a batch of six tracks that just exceeds the 42 minute mark.

Mellow and sluggish, "Encyclica" wakes up from a multi-year nap and is in no hurry to get the party started. A true snail's paced introduction keeps this album on slo-mo for the first couple of tracks before things get a bit more excite with the third track "Polemosophy II." BTW, no idea what the word means. It doesn't seem to exist but the band claims it means "knowledge of war"! This track still lollygags on space rock mode but featured an interesting piano run, ethereal atmospheres and guitar contributions that evoke the great Pink Floyd but are separated by many degrees that it doesn't sound like the band except distantly. The chill out vibe commences with the mellotron-rich "Akinesis" which offers a bit of Canterbury jazz piano warmth.

"Hyperknesis" offers a much needed upbeat groove provided on the synthpop flavored keyboards with the drums offering a jazzy roll and the guitars adopting the same jazzy ethos. Much unexpected, fiery rock guitars burst out from nowhere and accompany the drifting atmospheric ambience while the guitar licks deliver energetic outbursts. Heavily synthesized, the crazy atmospheric turbulence and the groovy bass provide the album's true maelstrom of sonic chaos. And just when you think the album turned into a veritable rocker, the third installment of the title track "Polemosophy III" reverts back to the lazy sluggish style that began the album. But wait! Half way through it suddenly and abruptly shifts the tempo and sounds more like a symphonic prog track with busy Wakeman-esque keyboard workouts and hefty guitars.

And then the album falls into snail mode once again with "Pseudesthesia" but picks up with the proggier than average "Isorropia" which delivers some of the most creative outbursts on the entire album. Well, it took the band seven tracks to warm up and saved the best for last. I can't say this album was as dynamic as the debut and doesn't make me feel like i missed out too much for skipping all the albums in between. This is nice pleasant progressive space rock but a bit inconsistent with too much dragging on with glacial grooves and hypnotizing atmospheres. The last track probably offers more variation than most others. The production is excellent and i love the echoey effects of everything. The band is great at what it does but i wish the tracks could've been more interesting overall. Decent but not dynamic.

 The Future Never Waits by HAWKWIND album cover Studio Album, 2023
3.89 | 27 ratings

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The Future Never Waits
Hawkwind Psychedelic/Space Rock

Review by ProggyGoose62

4 stars This new effort from Hawkwind is lush and beautiful. Very melodic and song based but with the typical space vibe. I feel similarities between this and the latest Agusa and Ozric Tentacles efforts. Masterfully put together in the studio, dreamy and smooth but with some of the typical heavy driving bass. I enjoy their 70s stuff but that seems downright low fi and garagey compared to this as far as production goes. Color me impressed. This is really smooth almost ambient at times yet clearly guitar driven space rock. Easily 4 stars. An excellent addition to any proghead collection for sure. No bad songs or filler at all and decent vocals too.
 The Dark Side of the Moon by PINK FLOYD album cover Studio Album, 1973
4.61 | 4726 ratings

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The Dark Side of the Moon
Pink Floyd Psychedelic/Space Rock

Review by hugo1995

4 stars This is a pretty good album, from a 2024 listener it is by no means "progressive" in a technical or compositional perspective but possibly could be attributed to progressive music because of its experimental sound effects, synthesizers, and of course the concept album itself. It's a bit like calling Sgt Peppers progressive because of the same thing.

This is a great stoner album, a great space-rock album. It has a few duds that I always skip but overall you must recognise Dark Side as being one of the prog "entry points" (despite my protesting that it isn't exactly what I would consider prog). I'm sure anyone reading this review has probably heard this album to death like I have. For these reasons I would consider the album an excellent addition to any prog rock music collection.

 Housekeeping: The OLI Years 1990-1994 by NO-MAN album cover Boxset/Compilation, 2024
4.91 | 3 ratings

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Housekeeping: The OLI Years 1990-1994
No-Man Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

5 stars These days, most people who become aware of Steven Wilson probably know him for Porcupine Tree, or his solo albums, or his active side hustle putting together fresh new mixes of classic albums from the prog greats of the past. Then, of course, there's the expanded universe of less heralded side projects he's had a hand in over the years. These days, No-Man is one of those side projects - a thing he comes back to now and again, whenever the mood strikes him and Tim Bowness, his constant creative partner in the project, but which can't really be said to be the main focus of his career.

However, there was a time when that wasn't the case - when even the mighty Porcupine Tree was a mere side project and No-Man was the most active of his musical ventures. After putting out various early demos and EPs over the 1980s, No-Man would sign with the OLI label (called One Little Indian then, but sensibly rebranded as One Little Independent now), issuing a clutch of singles and albums which represent No-Man's most sustained and intense burst of activity, with Ben Coleman along for the ride on violin. (He would exit by the end of the era, partially for financial reasons, partially because No-Man were moving in a direction where putting a violin solo on every song no longer made sense.)

Housekeeping is an encapsulation of that era, offering over five CDs the Lovesighs compilation of single tracks predating their debut album, the debut album itself (Loveblows and Lovecries), and the magnificent Flowermouth - perhaps the apex of their musical accomplishment in this phase, as they emerged from the shadow of the commercially fashionable trip-hop style they'd been pigeonholed into by the label and created something more artistically compelling through the simple measure of ignoring all of the label's instructions and just doing their own thing.

The bonus tracks on the discs for Lovesighs and debut album Loveblows and Lovecries, plus the dedicated "Singles" disc of non-album singles, offer a somewhat more varied sound, with the 22 minute Heaven Taste touching at points on similar territory to that which Wilson was exploring in Porcupine Tree at the same time. (In the process, this material displaces the now-redundant compilation Heaven Taste.) Likewise, the disc's worth of radio sessions puts another spin on a lot of the material, with the acoustic sessions in particular taking their sound into evocative new realms and making their devotion to Donovan and Nick Drake make somewhat more sense.

Though taken individually I would say that Flowermouth stands head and shoulders over the other discs here (with the radio sessions at a close second place, thanks to the more diverse sound it has compared to the earlier OLI releases), at the same time my appreciation of the first three discs is heightened by having the musical evolution of the group during this era laid out here in such encyclopedic fashion.

Of course, we all know the story - after putting out a few tapes and On the Sunday of Life as a joke, Steven Wilson found his Porcupine Tree side hustle gaining further traction. By the end of the period covered here, Porcupine Tree would have released Up the Downstair - the first sign that the project was more than a one-off joke - Wilson would be simultaneously drawing together the material which would become The Sky Moves Sideways, Porcupine Tree would crystallise as a full-on band project, and the group's momentum just kept building.

At the same time, it appears that Bowness and Wilson were realising that whatever No-Man might become, it wasn't going to be as big as they'd hoped for; from 1994 to 2006 they went into a hiatus as far as live shows go, keeping No-Man alive as an occasional studio project and further developing and mutating its sound. But for a brief flash of time in the early 1990s, you could believe that No-Man were about to be the next big thing. Housekeeping will take anyone who remembers that era back there in fine fashion; for those of us, like me, who simply missed this material first time around, it's a wonderful one-stop summation of what all the fuss is about.

 Ilion by SLIFT album cover Studio Album, 2024
4.01 | 23 ratings

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Ilion
Slift Psychedelic/Space Rock

Review by TheEliteExtremophile

3 stars Slift is back after a four-year gap with their new album, Ilion. The band has stated that Ilion can be thought of as a direct sequel to Ummon, their 2020 release. There is a lot of sonic continuity between the two records. Both prominently feature bludgeoning doom metal riffs, crossed with krautrock-like repetition, and interstellar aesthetics. Much like Ummon, Ilion is a challenging listen. It's a nearly-unrelenting onslaught of heavy riffs that cascade effortlessly from your speakers. I saw Slift when they came to Seattle last year, and if they come again, I'm going to go once more. They put on a great show, and I'm sure these cuts will be great additions to their live set.

In many ways, Ilion takes what Ummon did and cranks it up even further. Ummon saw Slift shift from spacey garage rock to a more metallic sound, and that progression has continued here. Not only are doom metal influences present, but post-metal, too. Ummon runs 72 minutes across 11 songs, but Ilion pumps that to 79 minutes across only eight songs (only two of which are under nine minutes, and none of which are below five).

However, it's this aggressive persistence that is probably Ilion's greatest stumbling block. Don't mistake me; I like Ilion overall, and I'll explain why below. I just think that certain aspects of this record see Slift indulging a bit too hard. An average runtime of six-and-a-half minutes per song (as on Ummon) gives you time to stretch out on some tracks, while also providing briefer passages to help the overall flow of the album. When the average song length is just shy of ten minutes, though, that risks things bogging down unless one of two conditions is met: 1) the structuring is careful and dynamic; or 2) you've got one hell of a groove to work with.

Ilion's 11-minute title track kicks the record off with a buzzing avalanche of space-metal fury. The main riff on this song is one of the album's strongest, and I love how flashy and high in the mix the bass is. Lightly-synthesized vocals add to the sci-fi scene-setting. During instrumental passages, the bass is really what holds my attention; a lot of the guitar work bleeds into the background, even when it is ostensibly the lead instrument. Despite the band's obvious technical skill and my confidence that this would kill in a live setting, "Ilion" sets the trend of everything being just "too much" on this album. The instrumental moments are dragged out for too long, and when things quiet down, the buildup is too drawn-out.

"Nimh" continues organically from "Ilion", and again, I need to point out how great the bass player sounds. The song, though, is sonically quite similar to its predecessor. Having tonal continuity is one thing, but some of the riffs sound a lot like what was on the opener, and the overall structure is quite comparable. When you're working with big compositions, similar structures will be more obvious, since there's less of an expectation to adhere to a typical architecture.

After a short, strange clicking intro, "The Words That Have Never Been" explodes into a metallic maelstrom, but Slift finally switches things up a bit here. Influences from post-rock and classic space rock are evident in this song's less-distorted moments, and those clean-distorted contrasts are a big part of what I loved so much about Ummon. I also get the odd flash of post-hardcore here and there, which is a nice change of pace. The instrumental stuff feels more purposeful on this track than it did on either of the preceding cuts, and the prominence of the bass sounds intentional. Backed with some subtle synth bloops, this calls to mind classic krautrock excursions. Even with all this going for the band, this song probably could have been trimmed down a fair bit and come out stronger for it.

At eight-and-a-half minutes, "Confluence" is the second-shortest song on the album, and its introduction is the mellowest. Electronic burbling, distant saxophone and the odd guitar note swirl (a bit aimlessly) for the first 90 seconds, but it's a nice breather. When the rhythm section comes in, they've got a solid groove going, and the guitar and sax twisting around each other work well together. This all gradually grows in intensity until the midway point, when the band pares things back. There's another (thankfully briefer) build-up to some more soloing, and "Confluence" winds up being one of the least-bloated cuts on Ilion.

"Weaver's Weft" has a spacey introduction, with broad, echoing clean guitar and chanted group vocals. This is contrasted against some of the heaviest, most crushing metal on the album in a powerful way. The first six minutes of this song are pretty strong and some of my favorite stuff on Ilion. The instrumental closing three-and-a-half minutes, though, emblematize some of the issues of this album. It feels aimless and overlong.

"Uruk" has a creepy, unsettling opening that sounds midway between late '60s Pink Floyd and Neurosis. This introduction builds to a churning, rumbling psychedelic doom riff that is one of the best on Ilion. It's hard-hitting, emotive, and distinctive. Unfortunately, this song's second half gets bogged down in repetition that doesn't lead to anything that's worth the wait. On Ummon, repetition was a tool to build tension and anticipation, but on Ilion, it seems to mostly just?repeat.

The longest song on Ilion (by three whole seconds!) is "The Story That Has Never Been Told". In contrast to many other songs here, the opening has a sense of majesty and optimism underpinned with fluttering synthesizer loops. After so much sludginess, this brightness is an appreciated contrast. The verse floats along (perhaps a bit too airily and for a bit too long), but the band does a better job of giving a sense of progression than elsewhere on Ilion. Around seven minutes in, the tempo picks up in an anxious passage, and this sort of frenetic meditation is the kind of repetition I more typically expect from Slift. The climax is powerful and feels earned. It delivers on the promise of glory given in the introduction.

That could have been a good close to Ilion, but no. Instead, the final song is the five-minute slog "Enter the Loop". It's a groaning, industrial dirge that does almost nothing during its runtime.

Ilion is an exhausting record. So is Ummon, but Ummon is rewarding, at least. There's plenty of good music to be found here, but it requires some sifting and filtering and a tolerance for overindulgence. Crushing doom metal, exhilarating space rock, and tripped out psychedelia can all be found here, but these rewarding moments are embedded in overlong songs and unfocused structures. It's alright, overall, but I'm not sure how often I'll be coming back to it.

Review originally posted here: theeliteextremophile.com/2024/02/12/album-review-slift-ilion/

 Flowermouth by NO-MAN album cover Studio Album, 1994
3.96 | 201 ratings

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Flowermouth
No-Man Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

5 stars No-Man's last major release on OLI saw the band sufficiently demoralised by record company mandates that they decided to simply ignore what the company wanted entirely and just follow their own muse. As a result, they branch out of the narrow trip-hop lane they had occupied for their earlier OLI releases and explored a broader dream pop/progressive pop universe.

A seismic shift occurred here in the band lineup, with Ben Coleman departing the group, credited here in only a guest capacity. As well as simply wanting to find better-paying work, Coleman was finding that he was becoming more peripheral to the group, and multi-instrumentalist Steven Wilson has admitted since that things had reached a point where No-Man's music needed a broader range of instrumental textures and crowbarring a violin solo into every song had becomes burdensome.

The benefits of a wider range of guests become apparent here, including Ian Carr of Nucleus fame, several future full- time members of Porcupine Tree (Richard Barbieri and Colin Maitland), Dead Can Dance's Lisa Gerrard, and King Crimson luminaries Mel Collins and Robert Fripp. With its centre of gravity in the artier, more laid-back end of downtempo, the album manages to show a progressive ethos without working in the more classically psych-prog/space rock notes that Wilson was reserving for Porcupine Tree.

The wake of this album would see further changes for No-Man; they would depart the OLI label, continue to evolve their sound, and put their live appearances on hiatus, not performing onstage again until 2006. With Porcupine Tree beginning to seriously gather steam at this point, it's perhaps understandable that No-Man activities were scaled back at this point. In the intervening years a new No-Man album has been a comparatively rare treat whilst Porcupine Tree has given us an embarrassment of riches (five new studio albums from No-Man, nine from Porcupine Tree, and way more live releases from the latter at that) and Steven Wilson and Tim Bowness have both put out a plethora of solo albums and collaborations along the way.

In other words, a case can certainly be made that Flowermouth represents the last point when No-Man was the central motivating force of Steven Wilson's musical endeavours - the main project which was given top priority out of all his activities at the time. On Flowermouth, we can hear why he considered this music worth committing to.

 Welcome to the Machine by MONKEY3 album cover Studio Album, 2024
4.61 | 14 ratings

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Welcome to the Machine
Monkey3 Psychedelic/Space Rock

Review by alainPP

5 stars MONKEY3 is the psychedelic rock band you have to have at home.

"Ignition" begins on the soundtrack of 'Prometheus', latent, spatial, far from our good old earth, or what remains of it; some 90 seconds later, the deluge, a musical fire, notes that fill the space or what remains of it; the sound has progressed since their last album, the change of members? The break which stops the diffusion of incandescent lava, the bass with a hint of PINK FLOYD, between memory and evolution, the keyboard driving the point home on 'Animals'; the air starts again, rises again and it is the psyche synth ambiance of dB which dominates before launching Boris into a stratospheric solo; breathtaking finale for a remake of 2001 today. "Collision" continues, pleasure of having sound always in the ears; Jalil is already at ease, as is Walter, to keep the fire going; collision like the Matrix and its confusion, in what world are we really, where are we elsewhere without realizing it...a gripping dark electro title that you have to remember to take the right pill for. "Kali Yuga" follows, water that we hear, Sunshine and fire that flows, Danny BOYLE's delirium set to music, a reverberating sound, an orgasmic, frenzied journey to save humanity; a long guitar solo to captivate the listener and leave him speechless in front of this riot of notes; the tune is intended to be hypnotizing and takes us to a dreamlike crescendo; a little water, air, oxygen and...

"Rackman" taking up the notions of Solaris and the question of guilt, redemption; its again electro-dark wave stoner, invasive; it's Boris at the helm who sends far away, who dynamites the air to put you in a trance, in a syncopated position, in excitement; a stoner thrash riff for headbanging no less; final with a drum explosion before launching "Collapse" yes if you don't think of them, it's because you are very young or innocent; cover, remix, recreation? The title that sets you in awe, a revisited 1984, from the Floydian masters, a delirious sound in the good sense of the word with a passionate guitar solo, a maximum stoner mid-term break surfing on pink psychedelic clouds and a groove hypnotic; frenzied finale that doesn't come back to earth, too bad for you. The title which gives all the psychedelic power of this extraordinary group.

MONKEY3 psychedelic stoner rock, that's it; an album exploring the future of Man, his destiny, his madness through five cult films. (perfect in genre).

 Through the Hourglass by MONDO DRAG album cover Studio Album, 2023
3.44 | 15 ratings

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Through the Hourglass
Mondo Drag Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 This one was mildly disappointing although to be fair there wan't a lot of expectations on my part other than the fact Conor Riley from ASTRA/BIRTH is on here playing bass and adding some vocals. That was what moved me to pick this one up as Conor joined this band in 2018. A five piece of basically keys/bass/guitar/drums then a fifth member is either adding a second guitar or extra synths to the proceedings. The keyboardist and singer John Gamino is the leader and he wrote the lyrics.

Being a huge fan of Psychedelic music I did find this one interesting if nothing else but I just wasn't convinced. Very much hit and miss and man my favourite song on here "Death In Spring" is a trippy and melancholic piece that takes us back to the early 70's. Everything seems to work for me here unlike the rest of the album. PINK FLOYD by the way came to mind many times on this album.

The opener "Burning Daylight Pt.1" is also a good track and quite heavy at times. A two part song about the California wildfires. The first part good, the second part bad(lol). My least favourite track is the second part where the vocals just ruin it for me but amazingly the whole song just doesn't work for me at all. "Passages" is the longest song at 11 minutes and certainly this is the most proggy track with plenty of atmosphere, synths, piano and guitar. Some heaviness but man the atmosphere early on is pretty cool. Distortion and FLOYD too.

The title track is the other one I really am not into at all. Again the vocals are part of that and while this is better than the second part of the opener I just can't get into it. That leaves the closer "Run" which is a nice way to end this 39 minute album. I like the drum work and the sounds that echo. Some heaviness and my second favourite after the previous track "Death In Spring" so yes this record ends well.

I have a fairly large Psychedelic collection, I think next to Jazz it's my biggest but again the music here just doesn't convince me despite a few really good tracks.

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
ABSTRACCIN 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
ALCNTARA Italy
ALEX DELIVERY United States
LGARNAS TRDGRD 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 RHL 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
BIRUTH 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 BOUL 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
CARR.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
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
THE COSMIC DEAD United Kingdom
COSMIC FALL Germany
COSMIC TRIGGERS Russia
COSMIC TRIP MACHINE Belgium
COSMONAUTTRANSFER United Kingdom
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 DOPPELGNGERS 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 WRMS 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 FRTILITY CLT 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
FLLAKZOID 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
GALPAGOS 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
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
HBRIDO 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
HONDURAS LIBREGRUPO Argentina
HOTEL WRECKING CITY TRADERS Australia
HOUSE OF NOT Canada
HOWLIN' MAGIC United States
HUM Germany
HUMAN FACTOR Russia
HUMANOID Canada
HUMINOITA Finland
HUMUS Mexico
HUNDOS United States
HYPNODRONE ENSEMBLE Germany
HYPNOS 69 Belgium
HYPNOTIC FLOOR Austria
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
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
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KARMA CANON United States
KARMIC SOCIETY Germany
KARUNA KHYAL Japan
A. J. KAUFMANN Poland
KAULA SPANDA Russia
ROSE KEMP United Kingdom
KHADAVRA Sweden
PAUL KIDNEY EXPERIENCE Australia
KIKAGAKU MOYO Japan
KIKI PAU Finland
KILL FOR TOTAL PEACE France
KILLFLAVOUR Germany
KING GIZZARD & THE LIZARD WIZARD Australia
KING SUFFY GENERATOR Italy
KINGBATHMAT United Kingdom
KINGSTON WALL Finland
KINSKI United States
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KLAR Czech Republic
KLAVA Finland
KNALL Germany
PASI KOIVU Finland
KORAI RM Hungary
ERKIN KORAY Turkey
KOSMOS Canada
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KOZMIC MUFFIN Spain
KRAUTZONE Germany
KREL United Kingdom
KROM LEK United Kingdom
KUNGENS MN Sweden
KUNI KAWACHI TO KARE NO TOMODACHI Japan
KVASAR Spain
LA CADENA PSYCH JAMBAND Spain
LA HORSA BIANCA Ukraine
LAGHONIA Peru
LAMAGAIA Sweden
LANA LEE Spain
LANDING United States
LANDS END United States
LAVA Sweden
LAY LLAMAS Italy
LAZERTTH United States
LE MUR Germany
THE LEGENDARY FLOWER PUNK Russia
THE LEGENDARY PINK DOTS United Kingdom
LEMMUS LEMMUS Israel
LEMONADE INFLUENCE Greece
SELIM LEMOUCHI AND HIS ENEMIES Netherlands
LENIN Argentina
LENINGRAD BLUES MACHINE Japan
LES LEKIN Austria
LIQUID ORBIT Germany
LIQUID SOUND COMPANY United States
LIQUID VISIONS Germany
LIQUIDO DI MORTE Italy
LITMUS United Kingdom
LIZARDS EXIST Croatia
LOCH NESS Mexico
LONDON ODENSE ENSEMBLE Multi-National
LONDON UNDERGROUND Italy
THE LONGEST DAY Australia
LOOP United Kingdom
LORDFISH Costa Rica
LORDS OF FORM United Kingdom
LOVE LIVE LIFE + ONE Japan
LOVE MACHINE Germany
LUBIANKA Spain
LGER Spain
LUMERIANS United States
LUNAR DUNES United Kingdom
MAAT LANDER Russia
THE MACHINE Netherlands
MACONDO Peru
MADEMOISELLE MARQUEE United Kingdom
MICHEL MADORE Canada
MAGIC LANTERN United States
MAGIC MUSCLE United Kingdom
MAGICAL POWER MAKO Japan
MAGICK BROTHER AND MYSTIC SISTER Spain
MAGNOG United States
MAINLINER Japan
MAJUTSU NO NIWA Japan
MALADY Finland
MAMMAL MACHINE Japan
MAMMATUS United States
MAN United Kingdom
MANBURGER SURGICAL United States
THE MANDRAKE MEMORIAL United States
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MANTRA MACHINE Netherlands
MANTRIC MUSE Denmark
MAPPE NOOTICHE Italy
KEVIN MAPPLEBECK United States
MARBLE SHEEP Japan
MARGIN Germany
ALAIN MARKUSFELD France
MARMALADE KNIVES United States
MARS EVERYWHERE United States
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MARY NEWSLETTER Italy
MSFL Hungary
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MATUSHKA Russia
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MELODIC ENERGY COMMISSION Canada
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MERKABAH Poland
MESS Estonia
MESSAGE Germany
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MIIST Poland
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
MONARCH United States
MONDO DRAG United States
MONKEY3 Switzerland
MONOMYTH Netherlands
MOOCH United Kingdom
MOON DUO United States
MOON FOG PROPHET Finland
MOON GOONS United States
MOON PHANTOMS Multi-National
MOONWAGON Finland
THE MOOR Sweden
THE MOOSE United States
LA MORTE VIENE DALLO SPAZIO Italy
MOTHER DUST Germany
MOTHER ENGINE Germany
MOTHER GONG United Kingdom
MOTHER OF FIRE United States
MOTHER-UNIT Netherlands
MOTHERSHIP United States
MOTHS & LOCUSTS Canada
MOURA Spain
THE MOVEMENTS Sweden
MR QUIMBY'S BEARD United Kingdom
MT. MOUNTAIN Australia
MUGSTAR United Kingdom
MUSHGOONS Italy
MUSHROOM United States
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OS MUTANTES Brazil
MY BROTHER THE WIND Sweden
MY SLEEPING KARMA Germany
MYRIAD Australia
THE MYRRORS United States
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NAAM United States
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GIORGIO C. NERI Italy
THE NIGHT SEA United States
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
OATS United States
OBSKURIA Multi-National
OC FEEF United States
OCEANSIZE United Kingdom
OCTAVIO SENDERO Argentina
OCTOPUS United Kingdom
OCTOPUS Germany
OCTOPUS RIDE Sweden
OCTOPUS SYNG Finland
OHEAD United Kingdom
OKTA LOGUE Germany
THE OLD MILL FREE ENSEMBLE Italy
OLE LUKKOYE Russia
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