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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 | 4627 ratings
WISH YOU WERE HERE
Pink Floyd
4.62 | 4818 ratings
THE DARK SIDE OF THE MOON
Pink Floyd
4.53 | 4168 ratings
ANIMALS
Pink Floyd
4.30 | 3552 ratings
MEDDLE
Pink Floyd
4.34 | 201 ratings
POLYGONDWANALAND
King Gizzard & The Lizard Wizard
4.21 | 1274 ratings
OCEAN
Eloy
4.27 | 181 ratings
NONAGON INFINITY
King Gizzard & The Lizard Wizard
4.19 | 369 ratings
LEGACY
Hypnos 69
4.25 | 165 ratings
FLYING MICROTONAL BANANA
King Gizzard & The Lizard Wizard
4.14 | 499 ratings
JURASSIC SHIFT
Ozric Tentacles
4.10 | 3365 ratings
THE WALL
Pink Floyd
4.13 | 419 ratings
RITUAL
Nemrud
4.25 | 98 ratings
PRIMA MATERIA
Agusa
4.17 | 203 ratings
KINGSTON WALL II
Kingston Wall
4.10 | 740 ratings
WARRIOR ON THE EDGE OF TIME
Hawkwind
4.09 | 732 ratings
A TAB IN THE OCEAN
Nektar
4.16 | 152 ratings
EN ANNAN VÄRLD
Agusa
4.16 | 135 ratings
TAKO
Tako
4.28 | 62 ratings
MONOMYTH
Monomyth
4.06 | 776 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

BABY GRANDMOTHERS
Baby Grandmothers
AHORA MAZDA
Ahora Mazda
THE BLACK TOMATO
Øresund Space Collective
GAMELAN INTO THE MINK SUPERNATURAL
Psychic Paramount, The

Latest Psychedelic/Space Rock Music Reviews


 Zen For Sale by SUN DIAL album cover Studio Album, 2003
3.00 | 3 ratings

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Zen For Sale
Sun Dial Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. Gary Ramon and his band SUN DIAL had a very busy and creative first half of the 90's, releasing five studio albums plus a live recording. Ramon then took a break from his own music to work on other band's albums at his studio. I don't think fans were expecting an eight year wait for another album though. And "Zen For Sale" is that record, released in 2003. It's interesting that he's brought in Joolie Woods previously from CURRENT 93 to play violin, keyboards and recorder here.

We get mellotron on four tracks including on that closer called "Reflections" which is a very BEATLES-like tune, and a top three track for me. Add "Supernatural Man" to that top three, and yes there's mellotron here as well. Lastly "Open Your Eyes" rounds out my top three and it has that grinding guitar and a heavy groove to it. I also want to mention "You're Still Wondering" that opener that has a PORCUPINE TREE vibe to it. It's just outside of my favourites, and really this one along with the other five tracks I haven't mentioned are very hit and miss.

I do think this is a worthy comeback album. It checks that 60's vibe that Ramon is into. And while I feel that this recording is just outside my top three records from SUN DIAL, I also feel like it's the best of the rest. Well worth checking out.

 Tarot, Part I by MAGICK BROTHER & MYSTIC SISTER album cover Studio Album, 2024
4.29 | 53 ratings

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Tarot, Part I
Magick Brother & Mystic Sister Psychedelic/Space Rock

Review by ProggyGoose62

4 stars Phenomenal album. So many influences I hear: Canterbury a la Gong and Caravan, David Axelrod theatrics, Hackett from Acolyte, Popol Vuh, Khan, Hillage, and a bit of Traffic. Throw in modern Kruanghbin and what you have is accessible yet intricate "Space Rock" that knows no boundaries and clearly has an early 70s feel. It's just one amazing track after another. Honestly I am a bit gobsmacked. Get out your wine and weed and take a trip! This does for 70s space rock what Kosmischer Laufer does for Neu! Krautrock style. No bad tracks. The production is very clean but also very warm. 4.5 stars really!
 Live in Chicago '23 by KING GIZZARD & THE LIZARD WIZARD album cover Live, 2023
4.14 | 5 ratings

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Live in Chicago '23
King Gizzard & The Lizard Wizard Psychedelic/Space Rock

Review by Fercandio46

4 stars It never ceases to amaze me that in a more stereotypical and monotonous era full of formulas, there are nevertheless increasingly stronger hints that music as a living force that experiences, mutates but not to adapt but to make people adapt to it, exists , only it is not fashionable or seen as in the past but you have to look for it, on the web, in stadiums, or pubs...or the Australian desert. To say that King Gizzard & The Lizard Wizard fuses genres is an understatement, because in my opinion they go further. Just as the Coen brothers in cinema reinvented and reinterpreted genres, thus creating something good (at least in their early days), the Aussies have tackled psychedelia, hard rock, krautrock, progressive rock, funk, soul, pop , electronic, thrash metal...and the list goes on, in this monumental album they review three days of shows in Chicago, where they once again leave their versatility, and what may be lacking in compositional perfection or interpretive they make up for it with a free spirit full of feeling, of happiness for playing and sharing with their audience...and nothing is missing from that, always present. They have been compared to the Grateful Dead, but for me that is underestimating the Australian idosincracy, with its own personality as Peter Weir, Bruce Beresford in the cinema or Nick Cave himself have shown... and this great little universe with such diverse climates It has space for everything. Because the King Guizzard challenge the listener in this era where everything has to be brief to listen to changes of rhythms, long passages that reveal meaning when crossing them, I forgot bossa nova and jazz, but far from settling, the Residency Tour, as they called This tour continues its nomadic journey, making us feel like we are there with them and the audience, being part of the work. This "Live in Chicago" leaves no album or genre unreviewed and works as a good gateway for those who don't know them, as well as an essential collector's item for those who are already lifelong members of Joey Walker's synthesizer, guitar Cook Craig, Stu Mackenzie's flute, or when they and the rest of the sextet change instruments!
 No Man's Land by NO MAN'S LAND album cover Studio Album, 2008
4.45 | 4 ratings

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No Man's Land
No Man's Land Psychedelic/Space Rock

Review by thegreekunderground

5 stars All though this is objectively not their best album it is my favorite. I first heard this when i was 12. I didn't speak English yet. I hadn't listened to any good music yet and was amazed by everything. The length if the songs. The ability to have a 14 minute groove and not get boring. The amazing lyrics that are as good of a poem as any. A true masterpiece. I feel a nostalgic longing everytime i listen to this. The addition of trumpets and strings since the first album ("zalion") gives is another unique twist. It is also difficult to trace this bad to something else because there is so much stuff. As it is greek it drew from music all over europe and america. A recommendation to any half decent fan if psychedelia
 Home in the Sky by NO MAN'S LAND album cover Studio Album, 2008
4.08 | 4 ratings

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Home in the Sky
No Man's Land Psychedelic/Space Rock

Review by thegreekunderground

4 stars A great album overall. The addition of string and horn players is refreshing and allows the album to be diverse from song to song.The album is a perfectly smooth experience from start to finish. The sound drowned in reverb and delay gives a feeling that is ineffable. Certainly not their best work but a great segment in the discography of no man's land. It might be my own ignorance but i haven't heard anything quite similar to this. It is very unique and yet every song makes you want to dance for all the right reasons. They are certainly one of the greatest bands to come from greece.
 Zalion by NO MAN'S LAND album cover Studio Album, 1988
4.92 | 3 ratings

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Zalion
No Man's Land Psychedelic/Space Rock

Review by thegreekunderground

5 stars I know the people behind no man's land personally. This is a very underdeveloped sound in they were attempting to go for a syd barret sound. I consider this to be their best album and it is also the inky performance they had on tv. Truly great. In my opinion there is a sound very close to kaleidoscope (the american band) but with a severely stronger pshycedelic element. For me at least what brings it home is that it wasn't produced with the best technology in the finest studio with great equipment but rather in a relatively low quality greek studio and that's what makes it feel a certain way as with every other album they have released
 Hawkwind 1997 by HAWKWIND album cover Live, 1997
3.87 | 11 ratings

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Hawkwind 1997
Hawkwind Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

4 stars Distant Horizons was an alright but not brilliant Hawkwind album from an era when their studio releases were kind of hit and miss, but Hawkwind have always been able to maintain high live standards even when their studio output has gone through patchy phases. Brock, Chadwick, Tree, and Richards do a fine job of blending the classic Hawkwind space rock style with more modern musical currents here; between this and Love In Space, the Distant Horizons album kind of gets upstaged by its contemporary live releases, and whilst I'd rate Love In Space above this, Hawkwind 1997 nonetheless offers another side of the story.
 Planets by ELOY album cover Studio Album, 1981
3.97 | 544 ratings

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Planets
Eloy Psychedelic/Space Rock

Review by Hector Enrique
Prog Reviewer

3 stars The fictionalised story of Ion, inhabitant of the planet Salta, who fights to save humanity from threatening evil forces (inspired by the critical vision of consumer society as expressed in the book 'After Us, the Future' by Swiss economist and pacifist Hans A. Pestalozzi), serves as a behavioural argument for Eloy to develop a conceptual work divided into two instalments. "Planets" (1981), the first of them and the ninth album by the band led by Frank Bornemann, takes a step back in Eloy's musical proposal after the several steps forward they took with "Colours" in their search for more accessible sonorities starting in the 80s.

And so it is that "Planets" combines linear elements with nuances taken from their most precious albums, to recreate cosmic and orchestrated atmospheres that accompany their story, and although the magic no longer seems to work with the same conviction as before, partly conditioned by the self-demand to elaborate more approachable and short pieces, the themes that take them back to their astral and recognised past stand out, such as the galloping, rasping hypnotism of "Point of No Return" (surely the best track on the album), Hannes Folberth's initial arpeggiated guitars and keyboard (a little nod to the Genesian 'In the Cage') in "Mysterious Monolith", the beautiful piano and vocal intro of the orchestrated "Queen of the Night", and the instrumentals "Introductions" and "At the Gates of Dawn" despite a certain weightless monotony in both developments.

And the attempts to ingratiate themselves with more energetic and aspirational landscapes come from the hand of the plaintive "On the Verge of Darkening Lights" and Folberth's interesting keyboard solo, the expectant and disturbed "Sphinx", and the conclusive "Carried by Cosmic Winds", achieving in good measure their task even being a few steps below the best times of the Germans.

3/3.5 stars

 Colours by ELOY album cover Studio Album, 1980
3.71 | 517 ratings

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Colours
Eloy Psychedelic/Space Rock

Review by Hector Enrique
Prog Reviewer

4 stars After keeping the same line-up for their three previous albums, the most representative of their discography, Eloy shuffles again and renews part of their line-up (surviving the change its leader Frank Bornemann and bass player Klaus-Peter Matziol) facing the beginning of the complicated decade of the 80's. The band tries not to get stuck in the conceptual themes and extensive developments typical of the progressive genre that had already lost much of its charm by the end of the 70's, and seeks to adapt to the stylistic models that began to dominate the musical panorama of that time, with shorter and less complex melodies, but still trying to respect its rock and space essence. And the result was "Colours" (1980), the band's eighth album.

The polychromatic work opens the game with a simplified approach, and although some pieces fail to convince completely, such as the repetitive and trivial "Horizons", from which perhaps its celestial female chorus could be rescued, or the urgent and lilting "Gallery", which suffers from an excess of lightness, there are a good handful of songs that come out of the challenge well and vindicate the most cosmic and structured Eloy, like the atmospheric "Illuminations" and Bornemann's hard rock riffs interacting with the keyboards of newcomer Hannes Folberth, the hypnotic mid-tempos of "Giant" and "Impressions" with their interesting flute contributions, or the infallible Floydian reference in "Child Migration" and its guitar riffs borrowed from 'Pigs (Three Different Ones)' in one of the best tracks on the album.

And after the Parsonian vibe that emanates from the relaxed and shifting "Silhouette" with the harmonic and versatile wall of sound that Matziol's bass and the percussion of the also newly incorporated Jim McGillivray generate for the guitars and keyboards, the twilight melancholy of "Sunset", a beautiful and peaceful instrumental dominated by Bornemann's guitar arpeggios and Folberth's keyboards, brings "Colours" to an end, and marks the beginning of the German band's eighties period.

3.5 stars

 Tarot, Part II by MAGICK BROTHER & MYSTIC SISTER album cover Studio Album, 2024
3.39 | 14 ratings

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Tarot, Part II
Magick Brother & Mystic Sister Psychedelic/Space Rock

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars The Barcelona Canterbury Psi-Funk band's second studio album release of 2024, this one from November 22.

1. "Strength" (5:05) some of Eva's sultry pagan poetry played over Ozrics-infused funky psychedelic rock that sounds as if it were a cover of a classic 1960s pop song. Nice lead guitar solo from guest Tony Jagqar in the fourth minute. The presence of creepy Fender Rhodes and sitar add to the occult-esoteric mystique. A charming, promising, top three song. (9/10)

2. "The Hanged Man" (3:31) a percussion-entrenched instrumental that moves through two or three parts with layers of synths and heavily-treated piano washing over the top. (8.75/10)

3. "The Unnamed Arcane" (3:25) an instrumental that was resuscitated from the cutting floor of Tarot, Part I. (8.7/10)

4. "The Temperance" (4:26) another throwaway instrumental that they forgot to throwaway. (8.7/10)

5. "The Devil" (3:23) trying to inflect a little Zeuhl into the Canterbury soundscape? In the third minute Eva's spoken voice reverberates like a 1970s Elvira casting spells. (8.75/10)

6. "The Tower" (3:16) now back to the 1960s--like something from a female-fronted psychedelic rock band like the or Ultimate Spinach, It's A Beautiful Day, Pan & Regaliz, Carol Of Harvest, Earth And Fire, or perhaps Jefferson Airplane. (8.875/10)

7. "The Star" (5:00) a spacey New Age Gong or Steve Hillage song. Lots of Ozric bubbles, erps, stretchy weirditudes and oolite plurnies with and gentle keyboard and guitar apreggi floating around in and around the soundscape. A top three song. (9/10)

8. "The Moon" (5:54) Eva's vocoder voice with more soft-core Ozric-Gong-Hillage sounds built over a straight 1965 psychedelic rock foundation. (8.75/10)

9. "The Sun" (4:42) a decently constructed 1960s pop song with great bass play, Mellotron, and heavily treated (and nicely arranged) vocals from both Xavi and Eva singing in unison. Lead guitar in the fourth minute is performed by guest Tony Jagwar. My final top three song. (8.875/10)

10. "The Judgement" (5:56) sitar and acoustic guitars and dreamy ethereal female whispervocals dominate this simple almost-Prog Folk song. Sounds a lot like the music that Mediæval Bæbes' Katharine Blake continues to make. (8.875/10)

11. "The World" (7:12) another pointless, meandering, needlessly drawn out pseudo-POPOL VUH-like jam with strummed and picked acoustic guitars, sitar, treated piano, and heavily-reverbed female vocalese (mostly aaah's) that achieves non of the transportive/transcendent effect of Florian Fricke's ground-breaking band. (12.75/15)

Total Time 51:50

While still of excellent sound quality and very consistent in terms of sound and stylings when compared to Tarot, Part I, the music here feels more "supplemental," less developed, polished, and/or finished. There are far more minutes of instrumental music--a lot of it what feel like "background msuic" jams--and less of Eva's wonderful vocal stylings and arrangements. Where Xavi and Eva rushed to get this out to the public? Was this really the finished product they wanted to share with their admiring audience? After the delightfully high quality and consistency of Tarot, Part I--on which the band felt like it had grown (since their self-titled 2020 debut)--I had expectations for Part II that are here sharply disappointed.

B/four stars; a decent collection of what feels like unfinished psychedelic covers of classic 1960s hit songs.

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Psychedelic/Space Rock bands/artists list

Bands/Artists Country
10000 RUSSOS Portugal
3 LEAFS United States
35007 Netherlands
3RD EAR EXPERIENCE Multi-National
THE 4 LEVELS OF EXISTENCE Greece
ABSTRACCIÓN Spain
ABUNAI! United States
ACID FLORIANI Russia
ACID MOTHERS TEMPLE Japan
ACID ROOSTER Germany
ACTION & TENSION & SPACE Norway
AD'ABSURDUM Switzerland
ADDICTHEAD Switzerland
AGAMEMNON Switzerland
AGUSA Sweden
AHKMED Australia
AHORA MAZDA Netherlands
AKASHA Norway
ALAMEDA 5 Poland
ALASEHIR United States
ALBER JUPITER France
ALCÀNTARA Italy
ALEX DELIVERY United States
ÄLGARNAS TRÄDGÅRD Sweden
ALHAMBRA Italy
ALICE France
ALIEN PLANETSCAPES United States
ALIENTAR United States
ALITHIA Australia
ALMUADEM Portugal
ALPHA NORD Germany
ALPHA OMEGA Australia
ALRUNE ROD Denmark
AMARIONETTE Portugal
AME SON France
AMGALA TEMPLE Norway
AMONULLUNOMA Ireland
THE AMORPHOUS ANDROGYNOUS United Kingdom
AMPACITY Poland
AMPLIFIER United Kingdom
ANALOGY Italy
ANDROMEDA SPACE RITUAL Poland
ANGEL'IN HEAVY SYRUP Japan
ANNOT RHÜL Norway
ANONIMA SOUND LTD. Italy
ANTA United Kingdom
ANTLERS United States
DADDY ANTOGNA Y LOS DE HELIO Argentina
ANUBIAN LIGHTS United States
APHODYL Germany
APPALACHIAN TRANSLATOR United States
APRYL FOOL Japan
APTEKA Poland
AQUA NEBULA OSCILLATOR France
AQUANAUT Australia
AQUARIUS LUX United Kingdom
AQUASERGE France
AQUELARRE Argentina
ARCADIUM United Kingdom
ARCHITECTURAL METAPHOR United States
ARIES Greece
ARILYN Germany
ARTIFACTS & URANIUM United Kingdom
ARZACHEL United Kingdom
ASSEMBLE HEAD IN SUNBURST SOUND United States
ASTRA United States
ASTRAL MAGIC Finland
ASTRAL SON Netherlands
ASTRALIA Italy
ASTRODOME Portugal
ATAVISM OF TWILIGHT United States
ATAVISMO Spain
ATAXIA United States
ATHENE NOCTUA Italy
ATLETA Spain
ATMOS United States
ATOMIC SIMAO Ukraine
ATON FIVE Russia
AURORIS United Kingdom
AUTO DRIVE SYSTEM Italy
AUTOMATISM Sweden
AVARUUSKORPRAALI PAHA HIRVI Finland
AXE United Kingdom
AYAHUASCA DARK TRIP Multi-National
AYERMANIANA Argentina
BABA SCHOLAE France
BABILS Belgium
BABY GRANDMOTHERS Sweden
BACHDENKEL United Kingdom
BACKSTREET ROMEOS Germany
BAIKAL United States
BAND OF RAIN United Kingdom
THE BAND WHOSE NAME IS A SYMBOL Canada
BARDO POND United States
BARN OWL United States
BARNDOMSLANDET Sweden
BARRETT ELMORE Sweden
BARROWS United States
MASAKI BATOH Japan
BAULUNA Spain
BËIRUTH Spain
BEYOND-O-MATIC United States
BIG RED PANDA Portugal
DANIEL BIRO United Kingdom
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
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