Psychedelic music

From Wikipedia for FEVERv2
Jump to navigation Jump to search

Psychedelic music (sometimes called psychedelia) is a wide range of popular music styles and genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as LSD, psilocybin mushrooms, mescaline and DMT to experience visual and auditory hallucinations, synesthesia and altered states of consciousness. Psychedelic music_sentence_0

Psychedelic music may also aim to enhance the experience of using these drugs. Psychedelic music_sentence_1

Psychedelic music emerged during the 1960s among folk and rock bands in the United States and the United Kingdom, creating the subgenres of psychedelic folk, psychedelic rock, acid rock, and psychedelic pop before declining in the early 1970s. Psychedelic music_sentence_2

Numerous spiritual successors followed in the ensuing decades, including progressive rock, krautrock, and heavy metal. Psychedelic music_sentence_3

Since the 1970s, revivals have included psychedelic funk, neo-psychedelia, and stoner rock as well as psychedelic electronic music genres such as acid house, trance music, and new rave. Psychedelic music_sentence_4

Characteristics Psychedelic music_section_0

"Psychedelic" as an adjective is often misused, with many acts playing in a variety of styles. Psychedelic music_sentence_5

Acknowledging this, author Michael Hicks explains: Psychedelic music_sentence_6

A number of features are quintessential to psychedelic music. Psychedelic music_sentence_7

Exotic instrumentation, with a particular fondness for the sitar and tabla are common. Psychedelic music_sentence_8

Songs often have more disjunctive song structures, key and time signature changes, modal melodies and drones than contemporary pop music. Psychedelic music_sentence_9

Surreal, whimsical, esoterically or literary-inspired lyrics are often used. Psychedelic music_sentence_10

There is often a strong emphasis on extended instrumental segments or jams. Psychedelic music_sentence_11

There is a strong keyboard presence, in the 1960s especially, using electronic organs, harpsichords, or the Mellotron, an early tape-driven 'sampler' keyboard. Psychedelic music_sentence_12

Elaborate studio effects are often used, such as backwards tapes, panning the music from one side to another of the stereo track, using the "swooshing" sound of electronic phasing, long delay loops and extreme reverb. Psychedelic music_sentence_13

In the 1960s there was a use of electronic instruments such as early synthesizers and the theremin. Psychedelic music_sentence_14

Later forms of electronic psychedelia also employed repetitive computer-generated beats. Psychedelic music_sentence_15

1960s: Original psychedelic era Psychedelic music_section_1

Main articles: Psychedelic folk, Psychedelic rock, Acid rock, and Psychedelic pop Psychedelic music_sentence_16

See also: Raga rock Psychedelic music_sentence_17

Further information: History of lysergic acid diethylamide, Psychedelia, and Psychedelic era Psychedelic music_sentence_18

From the second half of the 1950s, Beat Generation writers like William Burroughs, Jack Kerouac and Allen Ginsberg wrote about and took drugs, including cannabis and Benzedrine, raising awareness and helping to popularise their use. Psychedelic music_sentence_19

In the early 1960s the use of LSD and other psychedelics was advocated by new proponents of consciousness expansion such as Timothy Leary, Alan Watts, Aldous Huxley and Arthur Koestler, and, according to Laurence Veysey, they profoundly influenced the thinking of the new generation of youth. Psychedelic music_sentence_20

The psychedelic lifestyle had already developed in California, particularly in San Francisco, by the mid-1960s, with the first major underground LSD factory established by Owsley Stanley. Psychedelic music_sentence_21

From 1964 the Merry Pranksters, a loose group that developed around novelist Ken Kesey, sponsored the Acid Tests, a series of events involving the taking of LSD (supplied by Stanley), accompanied by light shows, film projection and discordant, improvised music by the Grateful Dead (financed by Stanley), then known as the Warlocks, known as the psychedelic symphony. Psychedelic music_sentence_22

The Pranksters helped popularise LSD use, through their road trips across America in a psychedelically-decorated converted school bus, which involved distributing the drug and meeting with major figures of the beat movement, and through publications about their activities such as Tom Wolfe's The Electric Kool-Aid Acid Test (1968). Psychedelic music_sentence_23

San Francisco had an emerging music scene of folk clubs, coffee houses and independent radio stations that catered to the population of students at nearby Berkeley and the free thinkers that had gravitated to the city. Psychedelic music_sentence_24

There was already a culture of drug use among jazz and blues musicians, and in the early 1960s use of drugs including cannabis, peyote, mescaline and LSD began to grow among folk and rock musicians. Psychedelic music_sentence_25

One of the first musical uses of the term "psychedelic" in the folk scene was by the New York-based folk group The Holy Modal Rounders on their version of Lead Belly's 'Hesitation Blues' in 1964. Psychedelic music_sentence_26

Folk/avant-garde guitarist John Fahey recorded several songs in the early 1960s experimented with unusual recording techniques, including backwards tapes, and novel instrumental accompaniment including flute and sitar. Psychedelic music_sentence_27

His nineteen-minute "The Great San Bernardino Birthday Party" "anticipated elements of psychedelia with its nervy improvisations and odd guitar tunings". Psychedelic music_sentence_28

Similarly, folk guitarist Sandy Bull's early work "incorporated elements of folk, jazz, and Indian and Arabic-influenced dronish modes". Psychedelic music_sentence_29

His 1963 album Fantasias for Guitar and Banjo explores various styles and "could also be accurately described as one of the very first psychedelic records". Psychedelic music_sentence_30

Soon musicians began to refer (at first indirectly, and later explicitly) to the drug and attempted to recreate or reflect the experience of taking LSD in their music, just as it was reflected in psychedelic art, literature and film. Psychedelic music_sentence_31

This trend ran in parallel in both America and Britain and as part of the interconnected folk and rock scenes. Psychedelic music_sentence_32

As pop music began incorporating psychedelic sounds, the genre emerged as a mainstream and commercial force. Psychedelic music_sentence_33

Psychedelic rock reached its peak in the last years of the decade. Psychedelic music_sentence_34

From 1967 to 1968, it was the prevailing sound of rock music, either in the whimsical British variant, or the harder American West Coast acid rock. Psychedelic music_sentence_35

In America, the 1967 Summer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival. Psychedelic music_sentence_36

These trends climaxed in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts, including Jimi Hendrix, Janis Joplin and Santana. Psychedelic music_sentence_37

By the end of the 1960s, the trend of exploring psychedelia in music was largely in retreat. Psychedelic music_sentence_38

LSD was declared illegal in the US and UK in 1966. Psychedelic music_sentence_39

The linking of the murders of Sharon Tate and Leno and Rosemary LaBianca by The Manson Family to Beatles songs such as "Helter Skelter" contributed to an anti-hippie backlash. Psychedelic music_sentence_40

The Altamont Free Concert in California, headlined by The Rolling Stones on December 6, 1969, did not turn out to be a positive milestone in the psychedelic music scene, as was anticipated; instead, it became notorious for the fatal stabbing of a black teenager Meredith Hunter by Hells Angels security guards. Psychedelic music_sentence_41

Revivals and successors Psychedelic music_section_2

Rock and pop Psychedelic music_section_3

Progressive rock and hard rock Psychedelic music_section_4

Main articles: Progressive rock and hard rock Psychedelic music_sentence_42

See also: Krautrock, Heavy metal music, Space rock, and Stoner rock Psychedelic music_sentence_43

By the end of the 1960s, many rock musicians had returned to the rootsy sources of rock and roll's origins, leading to what Barney Hoskyns called a "retrogressive, post-psychedelic music" development; he cited the country rock and blues/soul-inspired rock of the Rolling Stones, The Band, Delaney & Bonnie, Van Morrison, and Leon Russell. Psychedelic music_sentence_44

At the same time, a more avant-garde development came with the contingent of artists associated with Frank Zappa, including The Mothers of Invention, Captain Beefheart, Wild Man Fischer, The GTOs, and Alice Cooper. Psychedelic music_sentence_45

According to musicologist Frank Hoffman, post-psychedelic hard rock emerged from the varied rock scene, distinguished by more "cinematic guitar stylings and evocative lyric imagery", as in the music of Led Zeppelin, Black Sabbath, and Robin Trower. Psychedelic music_sentence_46

Music scholar Edward Macan notes that the "post-psychedelic hard rock/heavy metal styles" that emerged had "a weaker connection to the hippie ethos" and "strongly emphasized the blues progression". Psychedelic music_sentence_47

Psychedelic rock, with its distorted guitar sound, extended solos, and adventurous compositions, had been an important bridge between blues-oriented rock and the later emergence of metal. Psychedelic music_sentence_48

Two former guitarists with the Yardbirds, Jeff Beck and Jimmy Page, moved on to form key acts in the new blues rock-heavy metal genre, The Jeff Beck Group and Led Zeppelin, respectively. Psychedelic music_sentence_49

Other major pioneers of the heavy metal genre had begun as blues-based psychedelic bands, including Black Sabbath, Deep Purple, Judas Priest and UFO. Psychedelic music_sentence_50

According to American academic Christophe Den Tandt, many musicians during the post-psychedelic era adopted a stricter sense of professionalism and elements of classical music, as evinced by the concept albums of Pink Floyd and the virtuosic instrumentation of Emerson, Lake and Palmer. Psychedelic music_sentence_51

"Early-1970s post-psychedelic rock was hatched in small or medium-sized structures", he adds, naming record labels such as Virgin Records, Island Records, and Obscure Records. Psychedelic music_sentence_52

Many of the British musicians and bands that had embraced psychedelia moved into creating the progressive rock genre in the 1970s. Psychedelic music_sentence_53

King Crimson's album In the Court of the Crimson King (1969), has been seen as an important link between psychedelia and progressive rock. Psychedelic music_sentence_54

While some bands such as Hawkwind maintained an explicitly psychedelic course into the 1970s, most bands dropped the psychedelic elements in favour of embarking on wider experimentation. Psychedelic music_sentence_55

As German bands from the psychedelic movement moved away from their psychedelic roots and placed increasing emphasis on electronic instrumentation, these groups, including Kraftwerk, Tangerine Dream, Can and Faust, developed a distinctive brand of electronic rock, known as kosmische musik, or in the British press as "Krautrock". Psychedelic music_sentence_56

Their adoption of electronic synthesisers, along with the musical styles explored by Brian Eno in his keyboard playing with Roxy Music, had a major influence on subsequent development of electronic rock. Psychedelic music_sentence_57

The incorporation of jazz styles into the music of bands like Soft Machine and Can, also contributed to the development of the emerging jazz rock sound of bands such as Colosseum. Psychedelic music_sentence_58

Another development of the post-psychedelic era was more freedom with marketing of the artist and their records, such as with album artwork. Psychedelic music_sentence_59

Tandt identifies a recording artist's preference for anonymity in the economic market through the design of record sleeves having limited information about the musician or the record; he cites Pink Floyd's early 1970s albums, the Beatles' 1968 album (unofficially known as The White Album), and Led Zeppelin's 1971 album, for which "there is up to this day no consensus about the title". Psychedelic music_sentence_60

According to him, post-psychedelic musicians like Brian Eno and Robert Fripp "explicitly advocated" this disconnection between the artist and their work or stardom. Psychedelic music_sentence_61

"In so doing", he adds, "they laid the foundations for a central tendency of post-punk" in the late 1970s, as evinced by the first four albums by The Cure (featuring blurry photographs of the band members) and Factory Records' dark-colored covers with serial numbers. Psychedelic music_sentence_62

By the mid-1970s, post-psychedelic music's emphasis on musicianship had "laid itself bare to an iconoclastic rebellion", as Tandt described: "Mid-1970s punk rock, with its genuine or feigned ethos of musical crudeness, reinscribed rock's autonomy through cultural means opposite to those developed 10 years earlier." Psychedelic music_sentence_63

Along with the psychedelic, folk rock, and British rhythm and blues styles that preceded it, the music of the post-psychedelic era later became associated with the classic rock category. Psychedelic music_sentence_64

Stoner rock, also known as stoner metal or stoner doom, is a rock music fusion genre that combines elements of heavy metal and/or doom metal with psychedelic rock and acid rock. Psychedelic music_sentence_65

The name references cannabis consumption. Psychedelic music_sentence_66

The term desert rock is often used interchangeably with the term "stoner rock" to describe this genre; however, not all stoner rock bands would fall under the descriptor of "desert rock". Psychedelic music_sentence_67

Stoner rock is typically slow-to-mid tempo and features a heavily distorted, groove-laden bass-heavy sound, melodic vocals, and "retro" production. Psychedelic music_sentence_68

The genre emerged during the early 1990s and was pioneered foremost by Monster Magnet and the California bands Fu Manchu, Kyuss and Sleep. Psychedelic music_sentence_69

Post-punk, indie rock and alternative rock Psychedelic music_section_5

Main article: Neo-psychedelia Psychedelic music_sentence_70

Neo-psychedelia (or "acid punk") is a diverse style of music that originated in the 1970s as an outgrowth of the British post-punk scene. Psychedelic music_sentence_71

Its practitioners drew from the unusual sounds of 1960s psychedelic music, either updating or copying the approaches from that era. Psychedelic music_sentence_72

Neo-psychedelia may include forays into psychedelic pop, jangly guitar rock, heavily distorted free-form jams, or recording experiments. Psychedelic music_sentence_73

Some of the scene's bands, including the Soft Boys, the Teardrop Explodes, and Echo & the Bunnymen, became major figures of neo-psychedelia. Psychedelic music_sentence_74

The early 1980s Paisley Underground movement followed neo-psychedelia. Psychedelic music_sentence_75

Originating in Los Angeles, the movement saw a number of young bands who were influenced by the psychedelia of the late 1960s and all took different elements of it. Psychedelic music_sentence_76

The term "Paisley Underground" was later expanded to include others from outside the city. Psychedelic music_sentence_77

Madchester was a music and cultural scene that developed in the Manchester area of North West England in the late 1980s, in which artists merged alternative rock with acid house and dance culture as well as other sources, including psychedelic music and 1960s pop. Psychedelic music_sentence_78

The label was popularised by the British music press in the early 1990s, and its most famous groups include the Stone Roses, Happy Mondays, Inspiral Carpets, the Charlatans and 808 State. Psychedelic music_sentence_79

The rave-influenced scene is widely seen as heavily influenced by drugs, especially ecstasy (MDMA). Psychedelic music_sentence_80

At that time, the Haçienda nightclub, co-owned by members of New Order, was a major catalyst for the distinctive musical ethos in the city that was called the Second Summer of Love. Psychedelic music_sentence_81

Screamadelica is the third studio album by Scottish rock band Primal Scream released on 1991. Psychedelic music_sentence_82

The album marked a significant departure from the band's early indie rock sound, drawing inspiration from the blossoming house music scene and associated drugs such as LSD and MDMA. Psychedelic music_sentence_83

It won the first Mercury Music Prize in 1992, and has sold over three million copies worldwide. Psychedelic music_sentence_84

AllMusic states: "Aside from the early-'80s Paisley Underground movement and the Elephant 6 collective of the late 1990s, most subsequent neo-psychedelia came from isolated eccentrics and revivalists, not cohesive scenes." Psychedelic music_sentence_85

They go on to cite what they consider some of the more prominent artists: the Church, Nick Saloman's Bevis Frond, Spacemen 3, Robyn Hitchcock, Mercury Rev, the Flaming Lips, and Super Furry Animals. Psychedelic music_sentence_86

According to Treblezine's Jeff Telrich: "Primal Scream made [neo-psychedelia] dancefloor ready. Psychedelic music_sentence_87

The Flaming Lips and Spiritualized took it to orchestral realms. Psychedelic music_sentence_88

And Animal Collective—well, they kinda did their own thing." Psychedelic music_sentence_89

Hypnagogic pop, chillwave, and glo-fi Psychedelic music_section_6

Main articles: Hypnagogic pop and Chillwave Psychedelic music_sentence_90

See also: Bedroom pop Psychedelic music_sentence_91

The Atlantic writer Llewellyn Hinkes Jones identified a variety of music styles from the 2000s characterized by mellow beats, vintage synthesizers, and lo-fi melodies, including chillwave, glo-fi, and hypnagogic pop. Psychedelic music_sentence_92

These three terms were described as interchangeable by the Quietus, along with other terms "dream-beat" and "hipster-gogic pop." Psychedelic music_sentence_93

Altogether, they may be viewed as a type of synth-based psychedelic music. Psychedelic music_sentence_94

The term "chillwave" was coined in July 2009 on the Hipster Runoff blog by Carles (the pseudonym used by the blog's author) on his accompanying "blog radio" show of the same name. Psychedelic music_sentence_95

Carles invented the genre name for a host of similarly sounding up-and-coming bands. Psychedelic music_sentence_96

In August 2009, "hypnagogic pop" was coined by journalist David Keenan to refer to a developing trend of 2000s lo-fi and post-noise music in which artists from varied backgrounds began to engage with elements of cultural nostalgia, childhood memory, and outdated recording technology. Psychedelic music_sentence_97

By 2010, albums by Ariel Pink and Neon Indian were regularly hailed by publications like Pitchfork and The Wire. Psychedelic music_sentence_98

The terms "hypnagogic pop", "chillwave", and "glo-fi" were soon adopted to describe the evolving sound of such artists, a number of which had songs of considerable success within independent music circles. Psychedelic music_sentence_99

Originally, it was common for the three terms to be used interchangeably, but chillwave later distinguished itself as a combination of dream pop, new age, muzak, and synth-pop. Psychedelic music_sentence_100

A 2009 review by Pitchfork's Marc Hogan for Neon Indian's album Psychic Chasms referenced "dream-beat", "chillwave", "glo-fi", "hypnagogic pop", and "hipster-gogic pop" as interchangeable terms for "psychedelic music that's generally one or all of the following: synth-based, homemade-sounding, 80s-referencing, cassette-oriented, sun-baked, laid-back, warped, hazy, emotionally distant, slightly out of focus." Psychedelic music_sentence_101

Funk, soul, and hip hop Psychedelic music_section_7

Main articles: Psychedelic funk and Psychedelic soul Psychedelic music_sentence_102

Following the late 1960s work of Jimi Hendrix, psychedelia began to have a widespread impact on African American musicians. Psychedelic music_sentence_103

Black funk artists such as Sly and the Family Stone borrowed techniques from psychedelic rock music, including wah pedals, fuzz boxes, echo chambers, and vocal distorters, as well as elements of blues rock and jazz. Psychedelic music_sentence_104

In the following years, groups such as Parliament-Funkadelic continued this sensibility, employing synthesizers and rock-oriented guitar work into open-ended funk jams. Psychedelic music_sentence_105

Producer Norman Whitfield would draw on this sound on popular Motown recordings such as the Temptations' "Cloud Nine" (1968) and Marvin Gaye's "I Heard It Through the Grapevine" (1969). Psychedelic music_sentence_106

Influenced by the civil rights movement, psychedelic soul had a darker and more political edge than much psychedelic rock. Psychedelic music_sentence_107

Building on the funk sound of James Brown, it was pioneered by Sly and the Family Stone with songs like "Dance to the Music" (1968), "Everyday People" (1968) and "I Want to Take You Higher" (1969) and The Temptations with "Cloud Nine", "Runaway Child, Running Wild" (1969) and "Psychedelic Shack" (1969). Psychedelic music_sentence_108

Psychedelic hip hop emerged at the end of the 1980s as rappers began to sample mellower grooves, with De La Soul's debut album 3 Feet High and Rising (1989). Psychedelic music_sentence_109

Electronic Psychedelic music_section_8

House, techno, and trance Psychedelic music_section_9

Main articles: Acid house, Acid techno, and Trance music Psychedelic music_sentence_110

See also: Acid trance, Goa trance, and Psychedelic trance Psychedelic music_sentence_111

The rave scene emphasized house, acid house and techno. Psychedelic music_sentence_112

The rave genre "hardcore" first appeared amongst the UK acid movement during the late 1980s at warehouse parties and other underground venues, as well as on UK pirate radio stations. Psychedelic music_sentence_113

The genre would develop into oldschool hardcore, which led to newer forms of rave music such as drum and bass and 2-step, as well as other hardcore techno genres, such as gabber, hardstyle and happy hardcore. Psychedelic music_sentence_114

In the late 1980s, rave culture began to filter through from English expatriates and disc jockeys who would visit Continental Europe. Psychedelic music_sentence_115

American raves began in the 1990s in New York City. Psychedelic music_sentence_116

Acid house originated in the mid-1980s in the house music style of Chicago DJs like DJ Pierre, Adonis, Farley Jackmaster Funk and Phuture, the last of which coined the term on his "Acid Trax" (1987). Psychedelic music_sentence_117

It mixed elements of house with the "squelchy" sounds and deep basslines produced by the Roland TB-303 synthesizer. Psychedelic music_sentence_118

As singles began to reach the UK the sound was re-created, beginning in small warehouse parties held in London in 1986–87. Psychedelic music_sentence_119

During 1988 in the Second Summer of Love it hit the mainstream as thousands of clubgoers travelled to mass raves. Psychedelic music_sentence_120

The genre then began to penetrate the British pop charts with hits for M/A/R/R/S, S'Express, and Technotronic by the early 1990s, before giving way to the popularity of trance music. Psychedelic music_sentence_121

Trance music originated in the German techno and hardcore scenes of the early 1990s. Psychedelic music_sentence_122

It emphasized brief and repeated synthesizer lines with minimal rhythmic changes and occasional synthesizer atmospherics, with the aim of putting listeners into a trance-like state. Psychedelic music_sentence_123

A writer for Billboard magazine writes, “Trance music is perhaps best described as a mixture of 70s disco and 60s psychedelia”. Psychedelic music_sentence_124

Derived from acid house and techno music, it developed in Germany and the Netherlands with singles including "Energy Flash" by Joey Beltram and "The Ravesignal" by CJ Bolland. Psychedelic music_sentence_125

This was followed by releases by Robert Leiner, Sun Electric, Aphex Twin and most influentially the techno-trance released by the Harthouse label, including the much emulated "Acperience 1" (1992) by duo Hardfloor. Psychedelic music_sentence_126

Having gained some popularity in the UK in the early 1990s it was eclipsed by the appearance of new genres of electronic music such as trip hop and jungle, before taking off again towards the end of the decade and beginning to dominate the clubs. Psychedelic music_sentence_127

It soon began to fragment into a number of subgenres, including progressive trance, acid trance, goa trance, psychedelic trance, hard trance and uplifting trance. Psychedelic music_sentence_128

In the 2010s, artists such as Bassnectar, Tipper and Pretty Lights dominated the more mainstream psychedelic cultures. Psychedelic music_sentence_129

"Raves" became much larger and grew to mainstream appeal. Psychedelic music_sentence_130

New rave Psychedelic music_section_10

Main article: New rave Psychedelic music_sentence_131

In Britain in the 2000s (decade), the combination of indie rock with dance-punk was dubbed "new rave" in publicity for Klaxons, and the term was picked up and applied by the NME to a number of bands. Psychedelic music_sentence_132

It formed a scene with a similar visual aesthetic to earlier rave music, emphasizing visual effects: glowsticks, neon and other lights were common, and followers of the scene often dressed in extremely bright and fluorescent coloured clothing. Psychedelic music_sentence_133

See also Psychedelic music_section_11

Psychedelic music_unordered_list_0

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: music.