PSYCHEDELIC/SPACE ROCK
A Progressive Rock Sub-genre
From Progarchives.com, the ultimate progressive rock music website
Psychedelic/Space Rock definition
Psychedelic Progressive RockProgressive 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)
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Latest Psychedelic/Space Rock Music Reviews
Vibravoid Psychedelic/Space Rock
Review by
kev rowland
Special Collaborator Prog Reviewer / Special Collaborator
There is definitely an argument to be made that Christian (Dr) Koch's band are probably the finest
psychedelic/krautrock rock band in Germany and have held that crown for more than 30 years. During that period
they have released 22 studio albums, countless live albums, singles and EPs. 'Live At Finkenbach 2015' made it to No. 2
on the official German vinyl sales charts and 'Live At Rheinkaut Festival' stayed for several weeks in the Top 20 of the
German CD sales charts. They have been releasing tracks on FdeM since 2009, covering bands such as covers of
classic 60s tracks, including Can, Pink Floyd, Vanilla Fudge, Iron Butterfly and H.P. Lovecraft. This brings together many
of those songs, but after the decision had been made regarding this collection, Christian went back to the band's
original recordings and remastered them for the first CD, and then compiled a second CD comprising previously
unreleased live recordings of some of the tracks from the first disc as well as more 60's covers from the massive
Vibravoid back catalogue.There is certainly an argument to be had that "Set The Controls For The Heart of the Sun" is the finest version ever, outside of the Floyd original, and they also approach "A Saucerful of Secrets" in. wonderfully respectful manner. However, the highlight for me is not those, but that we get two versions (the 2016 studio version plus a previously unreleased live recording from the Film Museum, Dusseldorf, 2017) of the mighty "In-A-Gadda-Da-Vida" and I am incredibly pleased that even the shorter version is still more than 10 minutes long. Also, any band who dares to record "Hole In My Shoe" will always be a hit in my book, as surely it is the pinnacle of psychedelia. This double CD is a wonderful trip down a psychedelic memory lane and is a wonderful introduction for those who are frightened of such a vast catalogue.
Sendelica Psychedelic/Space Rock
Review by
kev rowland
Special Collaborator Prog Reviewer / Special Collaborator
Sendelica were formed in Cardigan Bay in 2005, with Pete Bingham (guitars and electronics), Colin Consterdine (beats,
synths) and Glenda Pescado (bass) but they often bring in guests when the need arises and that has happened again
this time with the addition of Santtu Laakso on keyboards ("Chaos") and Calli on vocals ("Requiem For The Planet").
Their music has been described as blending the hypnotic pulse of Can, the atmospherics of Pink Floyd, the motorized
proto-punk of Neu, the guitar pyrotechnics of Jimi Hendrix and the otherworldly ambiences of The Orb, but all I know
is that every time I hear them I feel I am falling deep inside of a world I am not sure I ever want to escape.Although this is a mostly instrumental album, it is also the fourth in a series of studio albums examining Man's relationship with religion, magic, myths, himself and the planet he inhabits. It commenced in 2021 with 'And Man Created God' which looked at man's relationship with religion, while 'One Man's Man' was released the following year, and examined the history of Homo Sapiens. 'Man, Myth & Magic' in 2023 explored man's myths and was originally designed to be the final album in the series until Pete Bingham decided it was not the right way to end things which is why we now have this. It contains six songs, but the double vinyl has been set so that each side is a continuous piece of music with Side Two featuring "Let There Be Light" and "Requiem for the Planet" and Side Four is "Chaos" and "Requiem for Mankind".
Lee Relfe has provided saxophone on the other albums in the series, but here we rely on the keyboards and guitars to provide the melodies as the layers of sound cause us to move away from the real world and into a different plane of reality. This is music which must be played on headphones when. One has time to drift into the psychedelic world of the Welsh Wizards. It feels like a musical comfort blanket, with elements of Ozric Tentacles here, Steve Hillage there, plenty of Floyd and some Can for good measure, all of which makes for a very interesting sonic experience which one never wants to end.
Fruits de Mer continue to be one of my very favourite labels, and Sendelica one of the standout performers on it, and long may their relationship continue. If you already know the band then you are aware of what this will be likely, and if not then you have something to look forward to and enjoy.
Sendelica Psychedelic/Space Rock
Review by
kev rowland
Special Collaborator Prog Reviewer / Special Collaborator
Sendelica have created a mighty reputation over the years with their highly improvised albums which create
wonderful soundscapes, but when they started working on this in 2019, they decided to undertake a different
approach, with just the members of the band being involved, Pete Bingham (guitars and noises), Colin Consterdine
(beats, keyboards, electronics), Lee Relfe (sax) and Glenda Pescado (bass). Gone were the weekend sessions and
instead they worked together to create something special, which then continued through the lockdowns of 2020, with
everyone working remotely. The result was a double album, which as normal has already sold out from the label but
may be available through other outlets, and is 76 minutes long, with Elfin Bow guesting on "Seren Golawr".As with their other albums, this is music which enfolds the listener, wrapping around them so that nothing else exists, the world is the music, and the music is the world. The keyboards are often dominant, with the guitars adding other worldly sounds, the sax providing some nuances and the bass keeping it somewhat grounded. It is psychedelic, progressive, new age, dreamy, and designed to take the listener into areas of their mind they didn't know existed. One can certainly imagine this being played with a lava lamp lightshow in UFO, and when this is playing time no longer matters as it simply ceases to exist. Yet again Sendelica have created an album which transcends space and time and is something which needs to be played on headphones when the listener has the time to do just that, listen, and not be disturbed.
Pink Floyd Psychedelic/Space Rock
Review by Lobster77
Leftover bricks from "The Wall"This would have been the third disc for the Wall. Pretty substandard album, Pink Floyd only in name. The problem by now was Roger Waters humongous ego running roughshod over the rest of the band. He had Nick Mason and David Gilmour relegated to the role of studio musicians, and poor Rick Wright wasn't even on the album, Waters had already had him removed. It was Roger Waters that tore Pink Floyd apart and on this album the music suffered for it. There are, in my opinion, only two great songs on The Final Cut, but they are so great they make the album worthy of ownership, by far. They are the roaring Not Now John, and , Two Suns In The Sunset, which is a very chilling song . A sad end for a truly great band. But Division Bell would in my opinion be musical redemption. 2.5 not somewhere to start with Floyd.
Hadal Sherpa Psychedelic/Space Rock
Review by Alxrm
Hadal Sherpa hail from Vantaa, Finland and they were formed in 2013 but their debut (and only album so far) was
released in 2017. The mastermind of the band is Vesa Pasanen (Guitar, bouzouki, keyboards, percussion) who wrote
all the songs which are purely instrumental. Forget about intricate guitar or keyboard solos or jammings to flesh out
the songs, this is only actual compositions. From the get-go, the flute enters the picture providing the leading
melodies. When the guitar takes over, I can distinguish some eastern influences on the playing through some
microtones. The first part of Nautilus attracts the interest of the listener and the second part is one of my favourite
intrumental songs, ever. Sublime melodies (on the flute, the guitar, the keyboards), the song goes by in a flash. By now
I am already fired up but Chafa Azeno that follows is a bit too ethnic for my taste. I wonder where Vesa Pasanen got
these influences from, given that they are too eastern. Sometimes the music slips into the Surf genre, too. Another
negative element, to my ears, is that sometimes a melody is repeated way too often and this song, in particular, from
the 5th minute has outstayed its welcome. Having said all of the above, it is still a song I never skip. Ikaros restores my
interest with its airy, flowing feeling it emanates. Then comes Heracleion and by now I strongly suspect a connection
to Greece. This time the guitar is responsible to bring out the melodies. Everything goes fine until on the 7th minute
the ethnic influences are introduced once again. Fortunately the band recaps the initial feel shortly after and the
damage is not much. The group shifts gears on Marracesh which is heavier and groovier and on Abyss the music goes
along with the title and it is darker and more mysterious. The bass lines play a key role to that and the bluesy guitar
accompanied by the hammond work wonders. Halfway the song becomes increasingly livelier providing the much-
desired diversity, but on Black Elk the ethnic and Surf influences are back which is too much for my taste and it is my
least favourite of the album. Perhaps it is also that we are already one hour in and I get tired more easily. This is
another thought that occurred to me, the album would be much better if it was a bit more succint.Conclusion: It's one of the times that I'd like to use 3,5 stars. I really can't make up my mind if it is a "Good, but not essential release" or if it is an "excellent addition to any prog collection", but I can tell you this: if the absence of vocals isn't a nuisance to you and if you are in for some ethnic elements, you should definitely check this album out. The boys have come up with some really good music.
Pink Floyd Psychedelic/Space Rock
Review by Lobster77
In 1945 George Orwell published his allegory on communism, the acclaimed Animal Farm. 32 years later Pink Floyd
took the idea of portraying humans as animals to criticise society and politics for this concept album, proving that
Orwell's ideas are timeless and effective, by simply changing communism for capitalism, observing greedy
businessmen, fake people, mindless sheep and others. Fun fact when I first listened to animals I never even knew it
was an album based on George Orwell's "Animal Farm"The album consists of five songs, two of them 1 1/2 minutes and the other three at least 10 minutes long. The album opener and closer Pigs on the Wing doesn't quite fit into the concept, it's a rather positive song that's played on an acoustic guitar. The main focus lies on the three tracks in between which have long and indulging instrumental parts and a rather bleak and pessimistic focus. Just like "The Wall" this album is basically Roger Waters' album and he proves that he can write brilliant tracks on his own which would lead some to say that "Roger Waters is Pink Floyd" .David Gilmour's only lead vocals are on Dogs, but there they are some of his finest ever and his guitar work is flawless on the entire record.
While this album is consistently great and has no low points like some of Floyd's filler tracks off of other albums, there's nothing that strikes me as absolutely outstanding, some of the songs are a bit lengthy and the concept of the album doesn't always work with most listeners. Nevertheless, these are 42 minutes of terrific music and Pink Floyd's Magnum Opus without a doubt. 5.0
Pink Floyd Psychedelic/Space Rock
Review by arunalu
It's almost universally agreed that Pink Floyd's Wish You Were Here is a masterpiece in '70s progressive rock. To
me, this is an album that can go toe-to-toe with The Dark Side of the Moon - which isn't an easy feat. Lyrically, Dark
Side might be arguably better, according to the listener, but the commentary on the music industry and the tribute
to the legendary bandleader who formed Pink Floyd, Syd Barrett, proves that the songwriting here is quite
formidable. To fans of Syd Barrett especially, this album is sure to be an impressive and melancholic listening
experience. WYWH is also among the most 'progressive' albums by Pink Floyd, from a musical standpoint. The only other album that embraces progressive rock better than this is probably 1977's Animals - which is a masterpiece in its own right.
The soundscape of WYWH, especially the two longest tracks: parts 1 & 2 of Shine On You Crazy Diamond, is quite psychedelic, like Dark Side was; Pink Floyd was always presented a highly psychedelic take on prog rock. It is also a relatively approachable record that'd be quite accessible for even those who aren't usually fans of the genre.
Amplifier Psychedelic/Space Rock
Review by Stoneburner
Giant MeaningAmplifier is one of those bands that hooked me from the very first listen. Now a duo Matt Brobin on drums and multi-instrumentalist Sel Balamir they return with their eighth studio album, Gargantuan.
The music on Gargantuan is incredibly well-crafted. The album sounds amazing , with top-tier production that highlights every intricate detail. Amplifier continues to blend progressive rock with experimental textures, creating a sonic journey . Tracks like "Gateway" and "King Kong" showcase their ability to balance thunderous riffs with atmospheric soundscapes.
The lead single, "Invader," is a prime example of the band's direction. A pulsating, monolithic wall of sound, it captures Amplifier's signature intensity while adding a haunting edge. Balamir himself calls it an Amplifier classic in the making.
Gargantuan is a great record. Their style might remind some of bands like Elder or King Buffalo, but beyond that, it has a strong originality. The album is packed with killer solos, lush keyboard textures, and incredible drumming. "King Kong," "Blackhole," and "Cross Dissolve" are the standout tracks, but the whole record is consistently strong. Every song is well-crafted and well-executed.
Unlike 2024, 2025 is shaping up to be a great year for progressive music?especially when I get to hear bands like Amplifier. Supposedly, there's a CD edition that includes extra tracks, but I only found out after buying it on Bandcamp. You have to purchase it through their website or another retailer, not Bandcamp, which is a little frustrating. As a fan who loves this music, it's disappointing that limited information keeps people from accessing the full experience.
Dhvani Psychedelic/Space Rock
Review by
Finnforest
Special Collaborator Honorary Collaborator
Intense Jams from the 13th RoomDhvani, a self-described "cosmic music project from planet Saturn," are actually from the gorgeous hills of Uscio, Italy, near Genoa. There, in the hidden forests hinted at in the album's cover art, perhaps, lies their headquarters known at "the thirteenth room." Dhvani formed around 2013, and Angustium is their debut full-length release on Psyka Records. They are an all-instrumental, three-piece, neo-psych jamband aiming to take you on a wild journey. The sound of Dhvani is a bright and modern psych/space one that, like the last psych band I reviewed, Da Captain Trips, reminds me of bands like Djam Karet while also connecting with the past on a interstellar level. Italy is becoming a real leader in carrying the torch for modern psych and psych-adjacent soundscapes. They have a nice contrast of heaviness, from distortion/effects-laden guitar leads to softer moments with clean guitar and flute. Their heavy stuff is pretty intense, pretty dense, and they can groove as well with some dirty riffs. There are luxurious keyboard layers and monster bass in the title track. There is also quite a noticeable vibe of '90s Porcupine Tree here, those spacy jams with lots of energy from The Sky Moves Sideways era. I think it will appeal to anyone who loves that PT era. This is a very good first album from Dhvani. Love the album cover too! Looking forward to more chapters from the thirteenth room.
Eye Psychedelic/Space Rock
Review by
Mellotron Storm
Prog Reviewer
EYE were from Columbus, Ohio releasing three studio albums before calling it a day. The four piece lineup was the
same for the first two records but major changes for this final 2016 release. In fact, only the drummer was left
standing after their "Second Sight" record from 2013. The most difficult task in my opinion would be replacing the
keyboardist who had a wealth of vintage equipment. Enter Lisa Bella Donna who actually has even more vintage
keyboards, plus a guitarist who can bring it, and an upfront bass player(thankyou). The result is my favourite from the
band called "Visions Of Ageless Light". I love this record! A top five for 2016 which was a really strong year for me. It's just unusual to have such gifted players in a psychedelic band. Some mention ASTRA which is a good comparison. Lisa was added to the site here recently under Electronics for her solo work which started the same year this album was released in 2016. We do get vocals here, both male and female, sort of in the HAWKWIND style. The guitarist offers up some ripping solos on this album, but some variety as well. The bass is huge! Then add the mellotron, synths, electronics, fender rhodes and on and on from Bella Donna, and the result is a masterpiece of this style. HAWKWIND, RUSH, BLACK SABBATH and ASTRA came to mind.
What can I say about the opener? "Book Of The Dead" opens with the waves of mellotron for 2 minutes. Come on! Drums and synths then kick in, but how about the sequencers. I did not see that one coming. "Kill The Slavemaster" has such a heavy start with the bass shaking the soundscape when the tempo picks up. Crank it up! The mellotron and synths sound great but man the fender rhodes is priceless. Lisa has a Jazz background and the lady can play that electric piano. When the e-piano stops then mellotron and synths return. Killer tune! "Searching" and "Dweller Of The Twilight Void" contrast nicely with the heavier "Searching" giving way to the strummed acoustic guitar led sound on the latter. Male vocals with some cool lyrics on that one.
"As Sure As The Sun" is an over 27 minute ride into the cosmos. This track has it all. Repeated themes and I like the combination of Rock and Psychedelia. The spacey mellotron and synth led passages, to the ripping guitar led parts where the bass crushes it. A light show here from the guitarist at times.The man can shred. It opens with the sound of running water as acoustic guitar and reserved vocals help out. Mellotron a minute in as the vocals step aside. Chunky bass and mellotron late but this is such an adventerous trip. Love the drumming before 13 minutes. Jazzy 14 minutes in. What? The male singer sounds like the MOTORPSYCHO vocalist. Honestly to describe this song would take up more space than the rest of the review.There is so much to this suite.
This is my music right here. I'm actually surprised this album didn't make more waves. 5 ageless stars for this one. And of course a spot in my "best of" psychedelic list.
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