Psychedelic music

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Psychedelic music (sometimes called psychedelia)

LSD, mescaline, and psilocybin mushrooms, to experience synesthesia and altered states of consciousness. Psychedelic music may also aim to enhance the experience of using these drugs and has been found to have a significant influence on psychedelic therapy.[2][3]

Psychedelia embraces visual art, movies, and literature, as well as music. 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. Numerous spiritual successors followed in the ensuing decades, including progressive rock, krautrock, and heavy metal. 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.

Characteristics

"Psychedelic" as an adjective is often misused, with many acts playing in a variety of styles. Acknowledging this, author Michael Hicks explains:

To understand what makes music stylistically "psychedelic," one should consider three fundamental effects of LSD: dechronicization, depersonalization, and dynamization. Dechronicization permits the drug user to move outside of conventional perceptions of time. Depersonalization allows the user to lose the self and gain an "awareness of undifferentiated unity." Dynamization, as [Timothy] Leary wrote, makes everything from floors to lamps seem to bend, as "familiar forms dissolve into moving, dancing structures"... Music that is truly "psychedelic" mimics these three effects.[4]

Flanging effect
A short sample followed by two flanging versions
Phaser effect
Unprocessed organ followed by different phasing effects
Problems playing these files? See media help.

A number of features are quintessential to psychedelic music. Eastern instrumentation, with a particular fondness for the

drones than contemporary pop music.[4] Surreal, whimsical, esoterically or literary-inspired lyrics are often used.[6][7] There is often a strong emphasis on extended instrumental segments or jams.[8][irrelevant citation] There is a strong keyboard presence, in the 1960s especially, using electronic organs, harpsichords, or the Mellotron, an early tape-driven 'sampler' keyboard.[9]

Elaborate studio effects are often used, such as

reverb.[10] In the 1960s there was a use of electronic instruments such as early synthesizers and the theremin.[11][12] Later forms of electronic psychedelia also employed repetitive computer-generated beats.[13]

1960s: Original psychedelic era

Main articles: Psychedelic folk, Psychedelic rock, Acid rock, and Psychedelic pop
See also: Raga rock
Further information:
History of lysergic acid diethylamide, Psychedelia, and Psychedelic era
LSD
in the 1960s, photographed in 1989

From the second half of the 1950s,

LSD and other psychedelics was advocated by new proponents of consciousness expansion such as Timothy Leary, Alan Watts, Aldous Huxley and Arthur Koestler,[16][17] and, according to Laurence Veysey, they profoundly influenced the thinking of the new generation of youth.[18]

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.[19] 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),[20] then known as the Warlocks, known as the psychedelic symphony.[21][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 in 1968.[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

Indian and Arabic-influenced dronish modes".[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".[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

Monterey Pop Festival.[35] These trends climaxed in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts, including Jimi Hendrix, Janis Joplin, Jefferson Airplane, and Santana.[36]

By the end of the 1960s, the trend of exploring psychedelia in music was largely in retreat. LSD was declared illegal in the US and UK in 1966.

Meredith Hunter by Hells Angels security guards.[39]

Revivals and successors

Rock and pop

Post-psychedelic era: Progressive rock and hard rock

Main articles: Progressive rock and hard rock
See also: Krautrock, Heavy metal music, Space rock, and Stoner rock

By the end of the 1960s, many rock musicians had returned to the

blues progression".[45] 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. 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.[46] Other major pioneers of the heavy metal genre had begun as blues-based psychedelic bands, including Black Sabbath, Deep Purple, Judas Priest and UFO.[46][47]

According to American academic Christophe Den Tandt, many musicians during the post-psychedelic era adopted a stricter sense of professionalism and elements of

jazz rock sound of bands such as Colosseum.[53]

Another development of the post-psychedelic era was more freedom with marketing of the artist and their records, such as with album artwork. 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". According to him, post-psychedelic musicians like Brian Eno and Robert Fripp "explicitly advocated" this disconnection between the artist and their work or stardom. "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.[48]

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."[48] 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.[48]

Stoner rock, also known as stoner metal[54] or stoner doom,[55][56] is a rock music fusion genre that combines elements of heavy metal and/or doom metal with psychedelic rock and acid rock.[57] The name references cannabis consumption. 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".[58][59] Stoner rock is typically slow-to-mid tempo and features a heavily distorted, groove-laden bass-heavy sound,[60] melodic vocals, and "retro" production.[61] The genre emerged during the early 1990s and was pioneered foremost by Monster Magnet and the California bands Fu Manchu, Kyuss[62] and Sleep.[63][64]

Kikagaku Moyo from Japan is considered one the best live psych rock bands[65] recently. Performing world wide in some of the best known festivals, like levitation festival.

Post-punk, indie rock and alternative rock

Main article: Neo-psychedelia

Neo-psychedelia (or "acid punk")[66] is a diverse style of music that originated in the 1970s as an outgrowth of the British post-punk scene. Its practitioners drew from the unusual sounds of 1960s psychedelic music, either updating or copying the approaches from that era. Neo-psychedelia may include forays into psychedelic pop, jangly guitar rock, heavily distorted free-form jams, or recording experiments.[67] Some of the scene's bands, including the Soft Boys, the Teardrop Explodes, and Echo & the Bunnymen, became major figures of neo-psychedelia.[67] The early 1980s Paisley Underground movement followed neo-psychedelia.[67] 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. The term "Paisley Underground" was later expanded to include others from outside the city.[68]

The Stone Roses in concert in Milan in 2012

studio album by Scottish rock band Primal Scream released in 1991. 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. It won the first Mercury Music Prize in 1992,[73]
and has sold over three million copies worldwide.

Bevis Frond, Spacemen 3, Robyn Hitchcock, Mercury Rev, the Flaming Lips, and Super Furry Animals.[67] According to Treblezine's Jeff Telrich: "Primal Scream made [neo-psychedelia] dancefloor ready. The Flaming Lips and Spiritualized took it to orchestral realms. And Animal Collective—well, they kinda did their own thing."[74]

Hypnagogic pop, chillwave, and glo-fi

Main articles: Hypnagogic pop and Chillwave
See also:
Bedroom pop

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.[75] These three terms were described as interchangeable by the Quietus, along with other terms "dream-beat" and "hipster-gogic pop."[76] Altogether, they may be viewed as a type of synth-based psychedelic music.[76]

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

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.[78]

By 2010, albums by

new age, muzak, and synth-pop.[79] 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."[76]

Funk, soul, and hip hop

Main articles: Psychedelic funk, Psychedelic soul, and Psychedelic rap

Following the late 1960s work of

fuzz boxes, echo chambers, and vocal distorters, as well as elements of blues rock and jazz.[81] In the following years, groups such as Parliament-Funkadelic continued this sensibility, employing synthesizers and rock-oriented guitar work into open-ended funk jams.[82][81] 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).[82]

Influenced by the civil rights movement, psychedelic soul had a darker and more political edge than much psychedelic rock.[80] Psychedelic soul was pioneered by Sly and the Family Stone with songs like ""I Want to Take You Higher" (1969), and The Temptations with "Cloud Nine", "Runaway Child, Running Wild" (1969) and "Psychedelic Shack" (1969).[83]

Psychedelic rap is a microgenre which fuses hip hop music with psychedelia.[84] Pioneers included New York’s Native Tongues collective, headlined by De La Soul, Jungle Brothers and A Tribe Called Quest,[84] and Shock G.[85] Though the "trip" in trip hop was more linked to dub music than psychedelia,[86] the genre combined psychedelic rock with hip hop.[87]

Electronic

Synthedelia

Synthedelia is the fusion of

Avant-Garde music, originating in the 1960s.[88]

House, techno, and trance

Main articles: Acid house, Acid techno, and Trance music
See also: Acid trance, Goa trance, and Psychedelic trance

The

techno. 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.[89] 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. In the late 1980s, rave culture began to filter through from English expatriates and disc jockeys who would visit Continental Europe. American raves began in the 1990s in New York City.[citation needed
]

A Roland TB-303 Bassline sequencer

Acid house originated in the mid-1980s in the

M/A/R/R/S, S'Express, and Technotronic by the early 1990s, before giving way to the popularity of trance music.[90]

jungle
, before taking off again towards the end of the decade and beginning to dominate the clubs. It soon began to fragment into a number of subgenres, including
progressive trance, acid trance, goa trance, psychedelic trance, hard trance and uplifting trance.[92]

In the 2010s, artists such as Bassnectar, Tipper and Pretty Lights dominated the more mainstream psychedelic cultures. "Raves" became much larger and grew to mainstream appeal.

New rave

Main article: New rave
New rave band the Klaxons in concert in 2007

In Britain in the 2000s (decade), the combination of

fluorescent coloured clothing.[93][94]

Music used for psychedelic-assisted therapy

Set and setting are critical in the design of psychiatric facilities and modalities of psychedelic-assisted psychotherapies.[95] Research has shown that a curated music playlist can be part of a favourable setting.[96][97][98]

See also

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Further reading
Retrieved from "https://en.wikipedia.org/w/index.php?title=Psychedelic_music&oldid=1216227993#Hypnagogic_pop,_chillwave,_and_glo-fi"