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PSYCHEDELIC/SPACE ROCK

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Psychedelic/Space Rock definition

Psychedelic Progressive Rock

Progressive rock music has its roots in the mid 1960's psychedelic cultural phenomena. During that time the British Invasion and folk-rock bands began to expand the sonic possibilities of their music. These groups slowly started to abandon the concise verse-chorus-verse patterns of rock & roll, and moved towards fluid, free-form oriented song structures. Just as important was the incorporation of elements from Indian and Eastern music. Along them the principles of free-form jazz were included to the psychedelic sound, emphasising spontaneous emotions over calculated and estimated compositional constructions. Experimenting with new studio technology, electronically altering instruments and voices, was a part of this altered approach as well. Acid rock groups like THE JIMI HENDRIX EXPERIENCE and CREAM stand as descriptive and popular examples of the path from psychedelic sunshine pop towards a more aggressive and distinct rock expression, in particular showcased in their improvised live performances.

The boundary dividing the "Experimental" and "Progressive" classification is a thin and at times contested one for this era. The pioneering psychedelic progressive rock bands to be found at www.progarchives.com will in most cases be found in the Proto-Prog section of the site. Amongst these pioneering outfits are acts like THE BEATLES, JEFFERSON AIRPLANE AND VANILLA FUDGE. Artists such as PINK FLOYD will not be found there though, as their career extended well beyond these first, formative years.

Psychedelic progressive rock music may contain the elements previously described in varying combinations, but the artistic perspective of progressive rock is another factor. Some psychedelic rock bands stuck to the mid 1960's beat rock style in purist form, not partaking in the experimental development of the impressionistic possibilities of psychedelic rock music others spearheaded. The evolution of the psychedelic depth within a progressive context could be seen for instance in the 1960's recordings of ARCADIUM and BABY GRANDMOTHERS. One good example of early 70's Continental European progressive psychedelic rock is the album by AHORA MAZDA, and from Britain JADE WARRIOR's early efforts fuse psychedelic rock and ethnic music. Current artists exploring the vintage 60's/70's style and sound are acts like THE SPACIOUS MINDS and ACID MOTHER'S TEMPLE.

The entire Western pop culture scene was influenced by the psychedelic culture to some extent, including other prog genres such as Prog Folk. In Germany, artists influenced by the British psychedelic movement formed their own genre called KRAUTROCK. The pioneering early 70's bands in this genre represent the progressive acid rock sound of Germany, experimenting with long instrumental improvisations, emphasizing the use of psychedelic effects and weird electronic sounds. Some examples are artists like AMON DÜÜL, ASH RA TEMPEL, CAN, GÄA, NECRONOMICON and YATHA SIDHRA. The PROGRESSIVE ELECTRONIC style emerged from Krautrock. Some of the most influential artists of this genre, such as TANGERINE DREAM and KLAUS SCHULZE, explored a distinct psychedelic musical style at first, which was influential for the development of the "space rock" sound:


Progressive Space Rock

The late 1960's psychedelic rock scene also spawned the birth of the space rock genre. The pioneering acts of this genre assimilated krautrock elements like repetitive hypnotic beats and electronic/ambient soundscapes as they moved away from the common musical and compositional approach. The synthesizer with its bubbling tones and spacey patterns, provoking a gliding flow, is a typical instrument of this genre. Guitars are by preference played with glissando technique and delay/echo effects are heavily used, and elements originating from reggae/dub are fairly common. Several bands combine their live performances with trippy lightshows using random fractals. Albums in this genre will often include at least one long meandering jam based on a main theme, where loops and wavelike fluctuations provides slight variations to this structural foundation.

Stories, images, song titles and album names referring to cosmic themes are fairly common features of the genre. HAWKWIND's live album "Space Ritual" is said to be the ultimate space rock album due to the collaboration with sci-fi author Michael Moorcock. His lyrics are performed by a narrator and underlaid with synth elements. PINK FLOYD can be regarded as pioneers of spacey music during the band's early phase, as exemplified by certain tracks from "The Piper At The Gates Of Dawn" or the stirring live performance of "Careful With That Axe Eugene" from "Ummagumma". GROBSCHNITT provides another fine example of classic space rock with their epic effort "Solar Music". Other bands explored the space rock sound for a limited time period only. GONG released groundbreaking albums in the genre at the start of their career, while British hard rock band UFO released the extraordinary album "Flying - One Hour Space Rock" as their sole contribution to the genre in 1971.

A space rock scene can be found in most countries sporting artists producing music with a western-oriented or influenced sound. Swedish bands are known for a brisk exchange of musicians among each other. The "Strange Daze" festivals from 1997-2000 showcased the American space rock scene. Japan is an inexhaustible reservoir of artists exploring both psychedelic progressivce rock and progressive space rock. Representative examples of the style are bands such as ORESUND SPACE COLLECTIVE with their focus on long grooving improvisations, QUARKSPACE and OZRIC TENTACLES with their stronger emphasis on electronic elements and VESPERO and HIDRIA SPACEFOLK with their inclusion of ethnic-originating musical components. Other groups like ESCAPADE and THE LEGENDARY PINK DOTS represent an avantgarde approach to the genre, whereas SUBARACHNOID SPACE and KINSKI are examples of artists that provide transitions to the post rock genre.


The boundaries of Psychedelic Progressive Rock connected with Stoner Rock and Acid Folk

The 1960's and 70's were a time of liberation, a time of rebellion against rigid rules and strict moral boundaries. In those "freedom of expression" days, an artist would typically herald their liberal attitudes as a mind-expanding trip on stage together with the audience in two ways. One was to realize audio/visually the visual and auditory hallucination as it was, and another was to play their repertoire spiritually and improvisationally under the trip. As for the latter approach, they devoted themselves solely to slow-to-mid tempo playing with low-tuned guitars in a heavy and expansive manner for playing steadily under this twilight condition. In the same time period, this approach to the musical trip was also taken on by some artists especially in the hard rock and heavy metal scene. This new style, drenched in heavy and downer psychedelia, was called "Stoner Rock". The name originates from the expression "stoned", referring to people in altered states of mind while under the influence of psychedelic substances. The Stoner Rock genre was universalized "as a strict musical style only" by the Industrial Grunge Rock genre that gained worldwide popularity in the early 1990s. The common denominator of all the artists mentioned is the representation of their personal cultural and political backgrounds, whilst playing slow-paced depressive songs with heavy guitars and echoic rumbling drums as the dominating features. Most of current outfits claiming to be the so-called Psychedelic Heavy Progressive Rock ones should be much influenced by the traditional Stoner or Grunge Rock as well as the early Psychedelic Progressive Rock. They can be considered as a borderline case between Psychedelic Progressive, Heavy Progressive, and Progressive Metal.

"Acid Folk" can be mentioned as another musical style with hallucinogenic approach. Psych Folk or Psychedelic Folk are other names for this genre, and is vaguely defined as a rock subgenre due to the mixture of folk rock and psychedelic rock. This is a style lacking in strict definitions, and it is contested whether or not the term was actually used at what is deemed the dawn of the genre. It's an undeniable fact that the Acid Folk scene gained some popularity by the efforts of artists in "The Folk Revivalism", but it's important to remember that there were two distinctly different approaches taken by those who helped shape the genre in the mid 1960's. Some folk singers approached a psychedelic rock structure as was popular at that time, while some psychedelic rock outfits tried to absorb and incorporate techniques and elements from folk rock. Both have great importance in the development of Acid Folk, and this may be the reason that strict definitions of the genre cannot be given. In view of the history, it's no exaggeration to claim that TYRANNOSAURUS REX, SYD BARRETT or THE INCREDIBLE STRING BAND in UK rock scene seasoned the "traditional" Acid Folk with a more progressive spice. They, as eccentric or heretical rock outfits, accepted and incorporated Middle-Eastern and Oriental elements or instruments, and the result was the foundation for the current progressive Acid Folk movement. And in the Eastern parts of the world, different acid streams was provided by artists such as TAJ MAHAL TRAVELLERS or MAGICAL POWER MAKO who exerted a great influence on younger progressive bands. Their amazing achievements resides in the twilight zone between the Prog Folk and Psychedelic Prog subgenres.


A path that never ends

In addition of the styles described, psychedelic elements can be found in many other genres of progressive rock. The psychedelic cultural explosion had an immense influence on the western popular culture, and traces of it can still be heard also outside of progressive rock circles. The collective techno rave parties carry on the legacy of the audiovisual attack from the PINK FLOYD concerts in 1968, to cite one example. As the psychedelic movement was a large cultural phenomenon, it is difficult (and maybe unnecessary) to fence it to a clear category. Psychedelic progressive rock has been developing towards several different directions over time, and the task of classifying them as distinct genres and sub-genres is an ever ongoing process, often loaded with strong opinions. The psychedelic rock artists which are not considered as progressive in style are not listed in the databse of www.Progarchives.com. This in order to maintain the site's scope to be a progressive rock reference.

The aim of this description is to be a tool of reference for potential and existing fans of the genre, and we hope that this will aid those who read it to a better understanding of the genre as well as to enjoy and discuss the subject at hand both in the forums of the Progarchives website as well as in other places online and offline both.


Psychedelic Rock / Space Rock team April 2010

Space rock definition by Rivertree
The boundaries of psychedelic progressive rock chapter by DamoXt7942
Other text by Eetu Pellonpää
with kind guidance and support by Windhawk



The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of
- Sheavy
- Meltdowner
- siLLy puPPy
- Rivertree



Psychedelic/Space Rock Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Psychedelic/Space Rock | More Top Prog lists and filters

4.62 | 3715 ratings
WISH YOU WERE HERE
Pink Floyd
4.60 | 3907 ratings
DARK SIDE OF THE MOON
Pink Floyd
4.52 | 3322 ratings
ANIMALS
Pink Floyd
4.30 | 2815 ratings
MEDDLE
Pink Floyd
4.22 | 943 ratings
OCEAN
Eloy
4.16 | 283 ratings
LEGACY
Hypnos 69
4.38 | 62 ratings
OBSOLETE
Hedayat, Dashiell
4.10 | 592 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.07 | 2667 ratings
THE WALL
Pink Floyd
4.11 | 360 ratings
RITUAL
Nemrud
4.09 | 395 ratings
JURASSIC SHIFT
Ozric Tentacles
4.15 | 150 ratings
KINGSTON WALL II
Kingston Wall
4.06 | 507 ratings
A TAB IN THE OCEAN
Nektar
4.14 | 156 ratings
BY THE WATERS OF TOMORROW
Vespero
4.10 | 244 ratings
TOGETHER WE'RE STRANGER
No-Man
4.04 | 556 ratings
DAWN
Eloy
4.16 | 104 ratings
TAKO
Tako
4.14 | 110 ratings
PARALLEL WORLD
Far East Family Band
4.05 | 271 ratings
EVERYONE INTO POSITION
Oceansize
4.02 | 574 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

OMEGA 6 - NEM TUDOM A NEVED [AKA: TűZVIHAR/STORMY FIRE]
Omega
COSMIC MINDS AT PLAY
Spacious Mind, The
HORIZONTE DE SUCESOS
Bëiruth
THE BLACK TOMATO
Řresund Space Collective

Latest Psychedelic/Space Rock Music Reviews


 Frequency Rhythm Distortion Delay by PSYCHIC LEMON album cover Studio Album, 2018
3.79 | 5 ratings

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Frequency Rhythm Distortion Delay
Psychic Lemon Psychedelic/Space Rock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars This is the band's sophomore album, meanwhile they are condensed to a trio, speaking about drummer Martin Law, Andy Hibberd on bass, as well as Andy Briston taking care of diverse guitars, keyboards and the vocals. Don't know how this will have an effect when they are playing live, as for the studio output it doesn't matter for good reason. The band rehearse and record down the road not far away from Syd Barrett's old place in Cambridge by the way. As for the spirtual dimension this holds good preconditions, or what? While moving even further from typical song structures on this occasion, the five tracks have evolved quite naturally from extended jams.

Here and now I have to regret that their debut has slipped off my radar more or less. Only could remember that I liked the song Death Cult Blues. Compared to this already highly appraised album there's more power and drive given on 'Frequency Rhythm Distortion Delay'. The distortion and drone element definitely has increased. Moreover, benefits from the repetition, the distinct affinity to krautrock, whilst stepping away from a genuine space rock approach a little. As for that, stylistically seen, some relations to Fred Laird's Earthling Society are coming up here overall. Anyway, good to know that they've avoided stillstand.

When starting to listen, tribal drums and fuzzy string instruments are evident. This gives a reliable clue what will follow over the course of little more than fourty minutes playing time. The album title perfectly fits as a matter of fact. Frequency is high by all means, the rhythm will force you to get up on your feet, (slightly) distorted and delayed guitars are a real trademark overall. And so here we have a thoroughly tied up package which is pleasantly contrasting from many other genre related albums. This grooves a lot, where Hey Droog! improves the main strategy with more strength, followed by the looping You're No Good provided with some saxophone tribute towards the end.

Predominantly being instrumental this is another excellent offer presented by the German Tonzonen Records label. It's a real benefit when an album conserves the niveau, holds the level of suspense over the course. Again, when considering Interstellar Fuzz Star, the title says it all. The fuzz party is on a thrilling process! Satori Disko finally appears to be my favourite share so far. There is a fantastic halting groove to notice, paired with some Middle East/Asian touch, just a really entertaining finish, you can't strike off. And so, due to such a quality album, I'm experiencing a rather promising entry into the year 2018, at least music-wise.

 The Doomsday Machine by ELECTRIC MOON album cover Studio Album, 2011
3.91 | 15 ratings

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The Doomsday Machine
Electric Moon Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. I'm a big fan of Dave Schmidt or if you wish Sula Bassana and this German's many musical outlets. This is my favourite of those outlets ELECTRIC MOON. Basically a trio of bass, guitar and drums with Schmidt adding guitar, synths, vocals and effects. Dave also recorded, produced and mixed this recording. I have to mention Komet Lulu who also plays with Schmidt in ZONE SIX, well she's the bass player and adds, vocals, effects, space echo and bass synths. Oh, she's an Illustrator by trade so check out the art work she does on this band's albums. What a talent.

I was so impressed with this band's latest called "Stardust Rituals". It's not as powerful as "The Doomsday Machine" which is fuelled by those distorted guitar expressions, no it's driven by the organ much of the time and is quite trippy. I prefer the new one surprisingly which is a top ten for 2017 for me. "The Doomsday Machine" is a long one as a lot of Space Rock albums are at almost 80 minutes while "Stardust Rituals" clocks in at 45 plus minutes. Both are essential in my opinion.

"Doomsday Machine" opens with this ominous repetitive beat with a fuzzed out guitar and bass helping out. Male vocals come in with a monotoned flavour a minute in. This is a mid-paced head banger and the guitar 3 minutes in is just screaming. Love that guitar before 7 minutes as well as the heaviness with vocals continues to lay waste. The heavy riffs and beats stop before 12 minutes as we get hit with a distorted guitar and then it turns dark and experimental. That heavy beat is back after 16 minutes as the vocals also return.

"Kleiner Knaller" is a top three track along with the next two. This one starts off in a laid back manner with bass, drums and relaxed guitar but it's building in intensity and tempo. Here we go! Just killing it before 2 minutes and check out the distortion before 3 minutes as they rip it up.

"Spaceman" opens with pulsating sounds that are speeding up until the disappear as a heavy groove kicks in. Great sound here. It's speeding up before 1 1/2 minutes. The guitar is grinding away almost swirling. So cool. Intense as distant male vocals arrive but they don't stay long. It starts to slow down 5 1/2 minutes in. This is really good too, love the bass and distant female vocals. She's back with space whispers before 8 minutes as sounds echo. It settles back quite a bit after 11 1/2 minutes to a more trippy, atmospheric sound to the end. Nice.

"Stardust Service" opens with distortion galore then the drums and bass kick in with a groove as the distorted guitar solos over top with aggression. It settles back at 1 1/2 minutes as the drums, bass and distorted guitar continue, just not as in your face. Spoken words before 2 1/2 minutes. Nice bass 3 1/2 minutes in as the spoken words continue. So good! The heaviness is back before 5 1/2 minutes as the vocals step aside for two minutes. How heavy is this at 8 1/2 minutes. It's slowed right down at 10 1/2 minutes then after 12 minutes it's pretty much drums, synths and some heavy bass lines. Spoken distorted words before 13 minutes. It's building again! It keeps building and the tempo is speeding up until all hell breaks loose. A calm with spoken words ends it. What a song!

"Feigenmonolog" opens with some deep atmosphere with guitar expressions in this laid back start. Before 2 minutes we get this BLACK SABBATH-like heaviness as it starts to build. Love that distorted guitar and check it out after 7 1/2 minutes. Just killing it! It settles back after 9 1/2 minutes and the distortion stops after 10 minutes as we get bass and drums with picked guitar. Nice. It settles back again at 13 minutes. Another calm then it's building again 16 minutes in until they are lighting it up big time once again. Check it out before 18 minutes!

This is my kind of music.

 Anomalia by TRAUMMASCHINE album cover Boxset/Compilation, 2008
3.00 | 1 ratings

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Anomalia
Traummaschine Psychedelic/Space Rock

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

— First review of this album —
3 stars What does the word TRAUMMASCHINE remind you of? Yes maybe remember that trippy long track in Ash Ra Tempel's debut album.And a Spanish psychedelic / Krautrock / electronic act TRAUMMASCHINE might have named themselves after the famous song as their homage to Ash Ra Tempel. They've changed their sound appearance upon every single album, and this album 'Anomaria' released in 2008 can be a good example for you to understand all of their sound styles or points of view. Basically they create melody lines or sound material with electronic synthesizers or devices, and build their organic, artistic structure up by artificial pieces. The first long track 'Flames Solars' is a loud, dissected electronic weirdness flooded with hard-edged noisy tones and uptempo, unchained, unpolished dissonance. Uncomfortable sound ultraviolence like a ultrasound insect repellent should exactly be fit for the album title 'Anomalia'. On the contrary mysterious dreamy phrases sometimes pop up to the front of us. All moments would be made up fragilely. 'Caligine' is an acoustic guitar-origined acid folksy stuff seasoned with hallucinogenic, improvisational repetitions. Not so innovative but comfortable despite of the previous one. 'La Fira' is a quirky mixture of acoustic folk and electronic background. Inorganic chuckle / laughter and distorted harmonies can be called as Krautrock, I guess. "Kilowat-Heure' is another blend of convoluting phrase repetitions upon spooky electrometallic ground. "(El Fare) Una Corona De Coscoll' reminds us of the similar vein to heavy-psychedelic improvisation combos like Acid Mothers Temple. A very qualified psychedelia indeed, not felt so long. In the last 'Maroma' we can touch another ambience fed up with wandering electrons. Recommended if you want to look around their colourful variation only via one creation of theirs.
 Lucky Leif & The Longships by CALVERT, ROBERT album cover Studio Album, 1975
2.91 | 19 ratings

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Lucky Leif & The Longships
Robert Calvert Psychedelic/Space Rock

Review by GruvanDahlman
Prog Reviewer

3 stars There is certainly an unpredictable and therefore eclectic nature to Robert Calvert. Listening to "Space ritual" by Hawkwind you are served up one of the most fearful live-albums of all time, filled to the brim of psychedelic space prog delivered in it's filthiest form. And if you've come to know Calvert through that album you will certainly be surprised to hear the material on this album. That is not a bad thing, yet it might detract from the album's somewhat brilliant content if you stare to blindly into the sun that was "Space ritual". That was the case for me, when I heard this conceptual album för the first time.

The cover, if I'm allowed to start there, is one of simple brilliance. It is intriguing with it's blue ocean with that lonesome viking ship heading towards some distant shore. The tale revolves around the viking expedition to Vinland and the encounter with the native population already living there. The flipside of the cover depicts the Statue of liberty wearing a viking helmet, which is sort of hilarious.

How about the music, then? The album opens in grand fashion with a viking horn signalling the arrival of the tale and heads straight into the heavy "Ship of fools", which is a great and menacing track. And then the albums true heart of eclecticism goes berserk with "The lay of the surfers", a Beach Boys pastiche which is so different to what one might expect from someone with a past in Hawkwind but it works. Not as an isolated track but in the grand scheme of things it really works. The folky "VOyaging to Vinland" is the best track, in my opinion. Dramatic and grand with a glorious guitar that blows me off my feet in it's simplicity. "The making of Midgard" is a spoken piece with voice effects. Quite effective, actually. "Brave new world" is a gentle pop song, "Magical potion" bluesy rock'n'roll, "Moonshine in the mountains" recalls some Civil War folk song and "Storm chant of the Skraelings" is slightly more in the space prog category, with it's droneing melody. "Volstead o vodeo do" is reggae and "Phase locked loop" is a sound collage. It all ends with the great and magnificent "Ragna rock", a brilliant song.

Sounds messy? Well, it is. It is a messy and by the sound of it severely disjointed. Still, repeated listening will unearth the scheme of things and paint a picture of the mind of an artist boasting excentricity and brilliance. There are certainly moments that on it's fails to hold up to scrutiny but as a whole this is a really entertaining and rewarding album. If you are a fan of Hawkwind it might pass by as novelty and if you've never heard of Calvert this album might not come your way but I think it's well worth a listen, though a singular sitting won't suffice. As a whole it is "Good, but non-essential" though there certainly are tracks well worth four stars. I have a soft spot for Calvert and this album is quite dear to me, as is "Captain Lockheed". He never made "The album of the century" but he provided music that is both interesting and highly original. Clever chap, he was.

 Journey To The Centre Of The Eye by NEKTAR album cover Studio Album, 1971
3.71 | 296 ratings

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Journey To The Centre Of The Eye
Nektar Psychedelic/Space Rock

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars Exactly one of the most Krautrock-proclaiming combos is the UK legend NEKTAR. The first album "Journey To The Centre Of The Eye' should be well characterized as a German rock with obvious acidity and subtle pop nuance. Every single song is not so long but clearly filled with power of psychedelia leaning towards Amon D''l II. It's fine for me to touch directly this Krauty flavour because such an atmospheric musical sensitivity cannot be herd via their other creations. Quite comfortable and addictive is guitar fuzzes and bubbling keyboard / mellotron vibes along with hallucinogenic, repetitive melody lines with hints of 60s psychedelic vanguards all over the world. Their unrefined, unpolished creativity or artificial, forced production (cannot feel they use sound effects skillfully, honest to say) through this debut album is good for me too

'Countenance' is a beautiful spacey ambience created with crying guitar plays and authentic mellotron streams. From 'The Dream Nebura Suite' until 'It's All In The Mind', weird and mysterious melody lines and inorganic psychedelic artifacts around the lines make me smiley. Guess lots of younger artists would have climbed the 'Nektar Mountain' up in early 70s. On the contrary, I see they would not have consolidated their purpose or the best way to go. Such a floating attitude of theirs is not so bad and the fans would tell them where they should go since then, I guess. Above all else, I can find my pleasure via their soundscape under construction for developing and getting innovative. At least for me, it's kinda happiness to find the same vein of a Japanese acid folk pride The Folk Crusaders in them.

 The Dust of Stars by BAND OF RAIN album cover Studio Album, 2017
3.00 | 1 ratings

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The Dust of Stars
Band Of Rain Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
3 stars It has been six years since the last band of Rain album, but Chris Gill is finally back with another release. As has been the case with his other albums, he continues to mix it up, and this time he has provided guitar, programming etc. and has been joined by Micha Steinbacher (bass, flute, sax, multi-instruments, programming, vocals). Most of the album is instrumental, but on two of the songs he has again engaged the vocal talents of Ria Parfitt, which takes the music into quite a different direction from the rest. This is hypnotic, almost trance-like music, treading a line where progressive rock and psychedelic music meet, reminiscent of Hawkwind, Pink Floyd and very early Porcupine Tree.

It is complex and complicated, and for all the times where it feels that it is driving and forceful there are others where the music just washes over the listener and allows them to relax into it. My favourite is "Indian Summer", where the combination of flute and synthesisers provides an introduction that makes one think that it is going to be in the style of Native Americans, before it goes into traditional Indian, and then something quite different altogether. This really shows the experimental aspect of the music, as the band bring together music from different cultures to create something that is both different and enjoyable. I know that Chris is often busy working on albums by others, but I do hope that we don't have to wait quite so long for the next one..

 Shum-Shir by VESPERO album cover Studio Album, 2017
4.26 | 10 ratings

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Shum-Shir
Vespero Psychedelic/Space Rock

Review by mitarai_panda

4 stars Vespero is also a very important band in the psychedelic community (at least I think so), from Russia, the music has early pf, faust and gong's style, can be quite demon wonder. This year's new album "Shum-Shir" can be said so, the opening of the psychedelic atmosphere reminiscent of OZRIC TENTACLES, but the band's iconic violin immediately join, a lot of color. The concept of the album seems to be tribal carnival (cover so), so you can hear many of the original atmosphere of percussion and drums, murmurs in the first song is very psychedelic taste. The second song's violin is still good, the third song's bass performance is a highlight, but unfortunately the album is too short, only five songs 40 minutes, the last two songs some of the things before the repeat. I still prefer their last album, more mature atmosphere and mellow, but also more memorable classic melody. But in short is a solid four-star, looking forward to their more works (if we can be more strange, even better haha).
 Stop Momentum by COBALT BLUE album cover Studio Album, 2017
3.61 | 10 ratings

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Stop Momentum
Cobalt Blue Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

3 stars COBALT BLUE are basically a duo out of Brazil who are very much influenced by PINK FLOYD, KING CRIMSON and THE MARS VOLTA. I feel like I didn't do my homework with this album as the psychedelia content is sparse on here but the heavy insanity like THE MARS VOLTA is here in spades. Not many bands could do what THE MARS VOLTA do and make it work in my opinion including these guys. We get up to 10 guests adding trumpets, saxes, bass, guitar, Hammond, percussion and backing vocals. The biggest turn-off for me are the vocals that sound like they are from the 90's the way he shouts the lyrics, not singing but speaking or shouting. Man this made me want to put this aside until much later down the road but I decided to persevere.

The best song by far is the "At Due Gesture" where we get none of the vocal style I just described in this almost 9 minute opener. Keys to start but soon drums and a fuller sound arrive. Nice bass here and it's actually kind of jazzy as brief male vocals join in around 1 1/2 minutes. The organ and guitar will both come and go then the vocals return before 3 minutes. The sound is building until after 4 minutes but then it turns experimental. Soon we're hearing spoken male and female voices followed by atmosphere and guitar expressions. More vocals at 7 1/2 minutes and this is the only song I'd call psychedelic other than maybe "All We Have Are Oscillations".

"Bereaved" opens and closes with drums only. In between we get some aggressive guitar then the organ lights it up. We get a prolonged powerful instrumental section until 3 minutes in. "Cataclysm" is powerful from the start and here we get lots of loud shouting. Just not into this. He will eventually be whispering, speaking and screaming. A tough listen.

"Drops N' Doors" is just over 2 minutes of dual vocals only throughout. "Catalyst" is a heavy track with vocals. Some guest sax and guitar on this one. "All We Have Are Oscillations" is another favourite after the opener. Dissonant horns, atmosphere and experimental sounds. The guitar starts to rise out of this playing a melody before it becomes aggressive. Samples end it.

"Dweller Of The Sevenfold" opens with guitars as drums and bass join in, organ as well. The wild vocals turn me off once again as he starts to yell. I do like when they slow it down and it becomes experimental starting around 3 1/2 minutes. The guitar starts to solo after 5 1/2 minutes then it kicks in with some power. Tempo shifts continue.

"Circadian Clock" has a lighter start with some really nice bass as the vocals join in. Guitar 1 1/2 minutes in as the vocals step aside. A calm before 3 1/2 minutes but it's very brief as the vocals shout and scream and the sound becomes powerful. "Luciferase" will be lit up by the guitar fairly quickly before female vocals join in as the guitar stops. These contrasts continue. Love the bass.

This just goes counter to my tastes in music unfortunately but if you like heavier music with aggressive vocals and a touch of psychedelia you might just love this album. 3 stars.

 Agusa by AGUSA album cover Studio Album, 2017
4.07 | 69 ratings

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Agusa
Agusa Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. I have to say that AGUSA's new album is their best in my opinion. This is a 5 piece band(flute, organ, drums, guitar and bass) out of Sweden and I was surprised to hear that organist Jonas Berge left the band in January of 2017 as they started to record this new album. So enter Danish keyboardist Jeppe Juul who actually lives in Sweden. While I do feel this is their best yet that traditional Swedish Folk vibe remains fairly strong and I'm not big on that vibe. Still this was an absolute joy to listen to pre-Christmas. Oh, and the new organ player is outstanding.

"Landet Langesen" opens with some solemn flute as the bass arrives and the organ seems to echo before a fuller sound arrives with drums. There's a brief calm with guitar and drums before that full sound returns. A calm 3 1/2 minutes in as flute comes to the fore. Some nice organ before 5 minutes as the guitar echoes in this laid back section. The tempo picks up at 5 1/2 minutes. Organ and wah- wah guitar after 8 minutes. The guitar starts to cry out after 9 minutes, then the organ comes in playing over top to the end. A great start!

"Sorgenfri" opens with some beautiful guitar melodies but soon the flute takes over with picked guitar then it turns fuller. The organ kicks in after 2 1/2 minutes in this uptempo section. It's the guitar's turn to lead after 4 minutes as he lights it up. Nice.

"Den ortrollade Skogen" has an experimental intro with atmosphere and various sounds that come and go. A beat after 1 1/2 minutes then the flute joins in around 2 minutes. Soon we have a full sound with flute over top. The organ will replace the flute then we get a calm 4 minutes in. I like the organ before 5 1/2 minutes. The flute is back then a full sound kicks back in at 7 minutes.

"Sager Fran Saaris" is my favourite on here. I like the rhythm here with guitar over top before the organ takes the guitar's place. A traditional sounding section here but it changes before 2 minutes as we get a calm with flute that sounds so much like the flute on KING CRIMSONs "I Talks To The Wind". That sound returns again just before 4 minutes. In between we get a guitar solo that starts before 3 1/2 minutes. It settles right down 5 minutes in. This is so good with that beat, bass, guitar and flute that all come and go. Such a cool section. It's building 6 1/2 minutes in. Guitar before 7 minutes and it's becoming more powerful sounding. So good!

"Bortom Hemom" opens with relaxed organ as the flute joins in. Pastoral is the word. Cymbals follow then what sounds like violin. It kicks in with drums and organ after 1 1/2 minutes. I like when the guitar joins in. Great sound 5 1/2 minutes in as the flute joins in as well. Organ only before 6 1/2 minutes as it seems to start over. The rest of the band joins in. Love the guitar before 8 1/2 minutes.

This was a very pleasant surprise. I liked these guys before and their retro sound but they've upped the ante here with this self titled release. This is feel good music and who isn't into some great sounding flute and organ with lots of wah-wah guitar. Come on!

 Otra Dimensión by EKOS album cover Studio Album, 2017
4.02 | 117 ratings

BUY
Otra Dimensión
Ekos Psychedelic/Space Rock

Review by LFG

4 stars In a time that pog rock seams like music from yesterday is so refreshing to find bands like EKOS a mexican group that are comited whit the music ,whit theyre own personality , in their sound you can hear some influences from Pink Floyd , maybe becoase they started as a tribute band of them , nothing to blame . EKOS recently released their second album"OTRA DIMENSION" ,Its great the way they blend together to deliver this great album whit no waste at all starting whit Merkaba the first of eleven tracks that leads you trough great musical passages to finish whit Otra dimension , which gives the name to the albun ,my favourite tracks are Orillas del tiempo pt. 1 and Invocacion, highly recomendable to any prog fan ,
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