Psychedelic music#Funk, soul, and hip hop

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

{{blockquote|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.{{cite book |last1=Hicks |first1=Michael |title=Sixties Rock: Garage, Psychedelic, and Other Satisfactions |date=August 2000 |publisher=University of Illinois Press |location=Chicago, IL |isbn=0-252-06915-3 |pages=63–64}}}}

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A number of features are quintessential to psychedelic music. Eastern instrumentation, with a particular fondness for the sitar and tabla, is common.R. Rubin and J. P. Melnick, Immigration and American Popular Culture: an Introduction (New York, NY: New York University Press, 2007), {{ISBN|0-8147-7552-7}}, pp. 162–4. Songs often have more disjunctive song structures, key and time signature changes, modal melodies, and drones than contemporary pop music. Surreal, whimsical, esoterically or literary-inspired lyrics are often used.G. Thompson, Please Please Me: Sixties British Pop, Inside Out (Oxford: Oxford University Press, 2008), {{ISBN|0-19-533318-7}}, p. 197.V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), {{ISBN|0-87930-653-X}}, pp. 1322–3. There is often a strong emphasis on extended instrumental segments or jams.Hicks 2000, p.64-66{{irrelevant citation|date=March 2021|reason=Bad citation, possible referring to citation 2?}} There is a strong keyboard presence, in the 1960s especially, using electronic organs, harpsichords, or the Mellotron, an early tape-driven 'sampler' keyboard.D. W. Marshall, Mass Market Medieval: Essays on the Middle Ages in Popular Culture (Jefferson NC: McFarland, 2007), {{ISBN|0-7864-2922-4}}, p. 32.

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.S. Borthwick and R. Moy, Popular Music Genres: an Introduction (Edinburgh: Edinburgh University Press, 2004), {{ISBN|0-7486-1745-0}}, pp. 52–4. In the 1960s there was a use of electronic instruments such as early synthesizers and the theremin.{{cite book |last1=DeRogatis |first1=Jim |title=Turn on your Mind: Four Decades of Great Psychedelic Rock |date=2003 |publisher=Hal Leonard Corp. |location=Milwaukee, WI |isbn=0-634-05548-8 |page=230}}{{cite book |last1=Unterberger |first1=Richie |editor1-last=Dempsey |editor1-first=Jennifer |title=Music USA: The Rough Guide |date=1999 |publisher=Rough Guides Ltd. |location=London |isbn=1-85828-421-X |page=[https://archive.org/details/musicusaroughgui0000unte/page/391 391] |url=https://archive.org/details/musicusaroughgui0000unte/page/391 }} Later forms of electronic psychedelia also employed repetitive computer-generated beats.{{cite book |editor1-last=St. John |editor1-first=Graham |title=Rave Culture and Religion |date=2004 |publisher=Routledge |location=New York |isbn=0-415-31449-6 |page=52}}

{{Main|Psychedelic folk|Psychedelic rock|Acid rock|Psychedelic pop}}

{{See also|Raga rock}}

{{Further|History of lysergic acid diethylamide|Psychedelia|Psychedelic era}}

File:Timothy-Leary-Los-Angeles-1989.jpg, a major advocate of the use of LSD in the 1960s, photographed in 1989]]

From the second half of the 1950s, Beat Generation writers like William Burroughs, Jack Kerouac and Allen GinsbergJ. Campbell, This is the Beat Generation: New York, San Francisco, Paris (Berkeley, CA: University of California Press, 2001), {{ISBN|0-520-23033-7}}. wrote about and took drugs, including cannabis and Benzedrine, raising awareness and helping to popularise their use.R. Worth, Illegal Drugs: Condone Or Incarcerate? (Marshall Cavendish, 2009), {{ISBN|0-7614-4234-0}}, p. 30. 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,Anne Applebaum, [http://www.huffingtonpost.com/2010/01/26/did-the-death-of-communis_n_435939.html "Did The Death Of Communism Take Koestler And Other Literary Figures With It?]", The Huffington Post, 26 January 2010.{{cite web|url=http://pages.cthome.net/tobelman/The_Out-Of-Sight_SMiLE_Site.html|title=Out-Of-Sight! SMiLE Timeline|access-date=30 October 2011|archive-url =https://web.archive.org/web/20100201234435/http://pages.cthome.net/tobelman/The_Out-Of-Sight_SMiLE_Site.html|archive-date=1 February 2010}} and, according to Laurence Veysey, they profoundly influenced the thinking of the new generation of youth.L. R. Veysey, The Communal Experience: Anarchist and Mystical Communities in Twentieth-Century America (Chicago IL, University of Chicago Press, 1978), {{ISBN|0-226-85458-2}}, p. 437.

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.J. DeRogatis, Turn On Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie, Michigan: Hal Leonard, 2003), {{ISBN|0-634-05548-8}}, pp. 8–9. 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),{{Cite web|url=https://www.mercurynews.com/2016/11/10/grateful-dead-at-center-of-bio-on-acid-king-owsley-stanley/|title = Grateful Dead at center of bio on 'acid king' Owsley Stanley|date = 10 November 2016}} then known as the Warlocks, known as the psychedelic symphony.{{cite web|url=https://digital.library.unt.edu/ark:/67531/metadc19800/m1/ |title=Show 41 – The Acid Test: Psychedelics and a sub-culture emerge in San Francisco. [Part 1] : UNT Digital Library |last=Gilliland |first=John |year=1969 |author-link=John Gilliland |work=Pop Chronicles |publisher=Digital.library.unt.edu |format=audio |access-date=6 May 2011}}M. Hicks, Sixties Rock: Garage, Psychedelic, and Other Satisfactions Music in American Life (Chicago, IL: University of Illinois Press, 2000), {{ISBN|0-252-06915-3}}, p. 60. 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.J. Mann, Turn on and Tune in: Psychedelics, Narcotics and Euphoriants (Royal Society of Chemistry, 2009), {{ISBN|1-84755-909-3}}, p. 87.

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.R. Unterberger, Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock (London: Backbeat Books, 2003), {{ISBN|0-87930-743-9}}, pp. 11–13. 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 LSDT. Albright, [https://books.google.com/books?id=aGN3vXcZl74C&q=Albright%2C+Art+in+the+San+Francisco+Bay+area%2C+1945-1980%3A+an+Illustrated+History Art in the San Francisco Bay area, 1945–1980: an Illustrated History] (University of California Press, 1985), {{ISBN|0-520-05193-9}}, p. 166–9. began to grow among folk and rock musicians.J. Shepherd, Continuum Encyclopedia of Popular Music of the World: Media, Industry and Society (New York, NY: Continuum, 2003), {{ISBN|0-8264-6321-5}}, p. 211. 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.M. Hicks, Sixties Rock: Garage, Psychedelic, and Other Satisfactions (University of Illinois Press, 2000), {{ISBN|978-0-252-06915-4}}, pp 59–60. 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.{{cite web | last= Unterberger | first = Richie | author-link=Richie Unterberger | title = The Great San Bernardino Oil Slick & Other Excursions — Album Review | work= Allmusic |publisher=Rovi Corp.| url = http://www.allmusic.com/album/vol-4-the-great-san-bernardino-birthday-party-mw0000103865 | access-date = 25 July 2013}} His nineteen-minute "The Great San Bernardino Birthday Party" "anticipated elements of psychedelia with its nervy improvisations and odd guitar tunings". Similarly, folk guitarist Sandy Bull's early work "incorporated elements of folk, jazz, and Indian and Arabic-influenced dronish modes".{{cite web| last = Unterberger | first = Richie | author-link = Richie Unterberger | title = Sandy Bull — Biography | work = Allmusic | publisher = Rovi Corp. | url = http://www.allmusic.com//artist/sandy-bull-mn0000295213/biography | access-date = July 16, 2013}} 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".{{cite web | last = Greenwald | first = Matthew | title = Fantasias for Guitar & Banjo — Album Review| work = Allmusic | publisher = Rovi Corp. | url = http://www.allmusic.com/album/fantasias-for-guitar-banjo-mw0000811015 | access-date = July 16, 2013}}

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.M. Campbell, Popular Music in America: And the Beat Goes on (Boston, MA: Cengage Learning, 3rd edn., 2008), {{ISBN|0-495-50530-7}}, pp. 212–3. This trend ran in parallel in both America and Britain and as part of the interconnected folk and rock scenes.C. Grunenberg and J. Harris, Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s (Liverpool: Liverpool University Press, 2005), {{ISBN|0-85323-919-3}}, p. 137. As pop music began incorporating psychedelic sounds, the genre emerged as a mainstream and commercial force.[{{AllMusic|class=style|id=psychedelic-pop-ma0000011915|pure_url=yes}} "Psychedelic pop"], Allmusic, retrieved 27 June 2010. Psychedelic rock reached its peak in the last years of the decade. 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.{{sfn|Brend|2005|p=88}} In America, the 1967 Summer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey International Pop Festival.W. E. Studwell and D. F. Lonergan, The Classic Rock and Roll Reader: Rock Music from its Beginnings to the mid-1970s (Abingdon: Routledge, 1999), {{ISBN|0-7890-0151-9}}, p. 223. 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.A. Bennett, Remembering Woodstock (Aldershot: Ashgate, 2004), {{ISBN|0-7546-0714-3}}.

By the end of the 1960s, the trend of exploring psychedelia in music was largely in retreat. LSD was declared illegal in the United States and the United Kingdom in 1966.I. Inglis, The Beatles, Popular Music and Society: a Thousand Voices (London: Palgrave Macmillan, 2000), {{ISBN|0-312-22236-X}}, p. 46. The linking of the murders of Sharon Tate and Leno and Rosemary LaBianca by the Manson Family to The Beatles songs such as "Helter Skelter" contributed to an anti-hippie backlash.D. A. Nielsen, Horrible Workers: Max Stirner, Arthur Rimbaud, Robert Johnson, and the Charles Manson Circle: Studies in Moral Experience and Cultural Expression (Lanham MD: Lexington Books, 2005), {{ISBN|0-7391-1200-7}}, p. 84. The Altamont Free Concert in California, headlined by the Rolling Stones and Jefferson Airplane 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.J. Wiener, Come Together: John Lennon in his Time (Chicago IL: University of Illinois Press, 1991), {{ISBN|0-252-06131-4}}, pp. 124–6.

{{Main|Progressive rock|hard rock}}

{{See also|Krautrock|Heavy metal music|Space rock|Stoner rock}}

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. The first mention of LSD on a rock record was the Gamblers' 1960 surf instrumental "LSD 25".{{sfn|DeRogatis|2003|p=7}} The Psychedelic Sounds of the 13th Floor Elevators, released in October 1966,{{sfn|Savage|2015|p=518}} was one of the first rock albums to include the word "psychedelic" in its title.{{sfn|Hicks|2000|pp=60, 74}} Two other bands also used the word in titles of LPs released in November 1966: The Blues Magoos' Psychedelic Lollipop, and the Deep's Psychedelic Moods. 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.{{cite book|title=Waiting for the Sun: A Rock 'n' Roll History of Los Angeles|pages=172–73|year=2009|last=Hoskyns|first=Barney|publisher=Hal Leonard Corporation|isbn=978-0879309435}} 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.{{cite book|last=Hoffman|first=Frank|year=2016|title=Chronology of American Popular Music, 1900-2000|publisher=Routledge|isbn=978-1135868864|page=286}} 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".{{cite book|last=Macan|first=Edward|year=1997|title=Rocking the Classics: English Progressive Rock and the Counterculture|url=https://archive.org/details/rockingclassicse0000maca|url-access=registration|publisher=Oxford University Press|isbn=0195356810|page=[https://archive.org/details/rockingclassicse0000maca/page/52 52]}} 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.B. A. Cook, Europe Since 1945: an Encyclopedia, Volume 2 (London: Taylor & Francis, 2001), {{ISBN|0-8153-1336-5}}, p. 1324. Other major pioneers of the heavy metal genre had begun as blues-based psychedelic bands, including Black Sabbath, Deep Purple, Judas Priest and UFO.J. DeRogatis, Turn on Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003), {{ISBN|0-634-05548-8}}, p. 212.

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 and Yes. "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. Many of the British musicians and bands that had embraced psychedelia moved into creating the progressive rock genre in the 1970s. King Crimson's album In the Court of the Crimson King (1969), has been seen as an important link between psychedelia and progressive rock.J. DeRogatis, Turn on Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie, MI: Hal Leonard, 2003), {{ISBN|0-634-05548-8}}, p. 169. 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.V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), {{ISBN|0-87930-653-X}}, p. 515. 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".P. Bussy, Kraftwerk: Man, Machine and Music (London: SAF, 3rd end., 2004), {{ISBN|0-946719-70-5}}, pp. 15–17. 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.V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), {{ISBN|0-87930-653-X}}, pp. 1330–1. 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.A. Blake, The Land Without Music: Music, Culture and Society in Twentieth-Century Britain (Manchester: Manchester University Press, 1997), {{ISBN|0-7190-4299-2}}, pp. 154–5.

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.

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." 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.{{cite journal|last=Tandt|first=Christophe Den|pages=16–30|date=September 2, 2012|title=The Rock Counterculture from Modernist Utopianism to the Development of an Alternative Music Scene|journal=Volume!|volume=9 : 2 |issue=9 : 2|doi=10.4000/volume.3261|doi-access=free}}

Stoner rock, also known as stoner metal{{cite news|url=http://www.buffalonews.com/incoming/article25407.ece|title=Stoner age: Priestess marries metal and melody|newspaper=Buffalo News|access-date=27 July 2010|archive-url=https://web.archive.org/web/20120213171518/http://www.buffalonews.com/incoming/article25407.ece|archive-date=13 February 2012}} or stoner doom,{{cite web|url=https://www.vice.com/en/article/10-stoner-metal-albums-ranked-by-a-metalhead-who-doesnt-smoke-weed-weedweek2017/|title=10 Stoner Metal Albums Ranked by a Metalhead Who Doesn't Smoke Weed|author=Kelly, Kim|publisher=Noisey Vice|access-date=12 August 2018|date=19 April 2017}}{{cite web|url=https://www.revolvermag.com/music/10-essential-stoner-metal-albums|title=10 ESSENTIAL STONER-METAL ALBUMS|work=Revolver Magazine|access-date=12 August 2018|date=20 April 2018}} is a rock music fusion genre that combines elements of heavy metal and/or doom metal with psychedelic rock and acid rock.{{cite book|url=https://books.google.com/books?id=n6hDB4kV9s4C&pg=PT267|title=Rebels Wit Attitude: Subversive Rock Humorists|author=Ellis, Iain|page=258|publisher=Soft Skull Press|year=2008|isbn=978-1-59376-206-3}}{{Dead link|date=February 2024 |bot=InternetArchiveBot |fix-attempted=yes }} 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".{{cite web|last1=Dewey|first1=Casey|title=Stoner Rock's Best Kept Secret|url=http://www.tucsonweekly.com/tucson/stoner-rocks-best-kept-secret/Content?oid=3864854|publisher=Tucson Weekly|access-date=April 30, 2015}}{{cite web|last1=Lynskey|first1=Dorian|title=Kyuss: Kings of the stoner age|url=https://www.theguardian.com/music/2011/mar/25/kyuss-stoner-queens-stone-age|work=The Guardian|date=25 March 2011|access-date=18 December 2014}} Stoner rock is typically slow-to-mid tempo and features a heavily distorted, groove-laden bass-heavy sound,{{cite web

|url = http://www.musicmight.com/artist/united+states/california/palm+springs/kyuss

|title = MusicMight – Kyuss biography

|access-date = 2007-12-10

|last = Sharpe-Young

|first = Garry

|publisher = MusicMight

|quote = [Kyuss] almost single handed invented the phrase 'Stoner Rock'. They achieved this by tuning way down and summoning up a subterranean, organic sound...

|url-status = dead

|archive-url = https://web.archive.org/web/20160303192246/http://www.musicmight.com/artist/united+states/california/palm+springs/kyuss

|archive-date = 3 March 2016}} melodic vocals, and "retro" production.{{cite web

|url = {{AllMusic|class=style|id=stoner-metal-ma0000011961|pure_url=yes}}

|title = Stoner Metal

|access-date = 2009-05-22

|publisher = AllMusic

|quote = Stoner metal could be campy and self-aware, messily evocative, or unabashedly retro.

}} The genre emerged during the early 1990s and was pioneered foremost by Monster Magnet and the California bands Fu Manchu, Kyuss{{cite web

|url = {{AllMusic|class=artist|id=kyuss-mn0000776011|pure_url=yes}}

|title = Kyuss biography

|access-date = 2007-12-10

|author = Rivadavia, Eduardo

|publisher = AllMusic

|quote = ...they are widely acknowledged as pioneers of the booming stoner rock scene of the 1990s...}} and Sleep.{{cite web

|url = {{AllMusic|class=artist|id=sleep-mn0000021578|pure_url=yes}}

|title = Sleep biography

|access-date = 2008-07-21

|author = Rivadavia, Eduardo

|publisher = AllMusic}}[https://www.ultimate-guitar.com/articles/features/brief_history_of_stoner_rock_and_stoner_metal-70707 Brief History of Stoner Rock and Stoner Metal|Articles @ Ultimate-Guitar.Com]

{{Main|Neo-psychedelia}}

Neo-psychedelia (or "acid punk"){{cite magazine|last1=Shaw|first1=Greg|title=New Trends of the New Wave|magazine=Billboard|date=January 14, 1978|url=https://books.google.com/books?id=piQEAAAAMBAJ&q=%22acid+rock%22+%22nuggets%22&pg=PT59|access-date=23 November 2015}} 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.{{cite web|website=AllMusic|date=n.d.|url=http://www.allmusic.com/style/neo-psychedelia-ma0000012252|title=Neo-Psychedelia}}

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

The early 1980s Paisley Underground movement followed neo-psychedelia. 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.{{cite news|last1=Hann|first1=Michael|title=The Paisley Underground: Los Angeles's 1980s psychedelic explosion|url=https://www.theguardian.com/music/2013/may/16/paisley-underground-history-80s-los-angeles-psychedelia|work=The Guardian|date=16 May 2013}}

File:Stone Roses-17-07-2012 Milan.JPG in concert in Milan in 2012]]

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.Echard, William (2017). Psychedelic Popular Music: A History through Musical Topic Theory. Indiana University Press. pp. 244–246{{cite web|title=Madchester – Genre Overview|url=https://www.allmusic.com/style/madchester-ma0000005017|website=AllMusic|access-date=25 March 2017}} The label was popularised by the British music press in the early 1990s,{{cite book|last=Shuker|first=Roy|page=157|chapter=Madchester|chapter-url=https://books.google.com/books?id=2sAReL71VsUC&pg=PA157|title=Popular Music: The Key Concepts|publisher=Psychology Press|year=2005|access-date=26 December 2016|isbn=978-0415347693}} and its most famous groups include the Stone Roses, Happy Mondays, Inspiral Carpets, the Charlatans and 808 State. The rave-influenced scene is widely seen as heavily influenced by drugs, especially ecstasy (MDMA). 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.{{cite web|url=https://www.theguardian.com/music/musicblog/2009/feb/17/stone-roses-twentieth-anniversary|title=Why are the Stone Roses adored?|work=The Guardian|last=Anderson|first=Penny|date=18 February 2009|access-date=9 July 2014}} Screamadelica is the third 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,{{cite web|url=http://www.mercuryprize.com/aoty/track.php?TrackID=66 |title=1992 Shortlist – Barclaycard Mercury Prize |publisher=Mercuryprize.com |access-date=2011-12-03}} and has sold over three million copies worldwide.

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." 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. 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."{{cite web|last1=Terich|first1=Jeff|title=10 Essential Neo-Psychedelia Albums|url=http://www.treblezine.com/24002-10-best-neo-psychedelic-albums/|publisher=Treblezine}}

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

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.{{cite news| last= Pirnia| first= Garin | url= https://blogs.wsj.com/speakeasy/2010/03/13/is-chillwave-the-next-big-music-trend| title= Is Chillwave the Next Big Music Trend?| work= The Wall Street Journal| date= March 13, 2010 }} 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.{{cite news|last1=Keenan|first1=Dave|author-link=David Keenan|title=Childhood's End|work=The Wire|issue=306|date=August 2009}}

By 2010, albums by Ariel Pink and Neon Indian were regularly hailed by publications like Pitchfork and The Wire. 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.{{cite web|url=https://www.theatlantic.com/entertainment/archive/2010/07/downtempo-pop-when-good-music-gets-a-bad-name/59803/|work=The Atlantic|date=15 July 2010|title=Downtempo Pop: When Good Music Gets a Bad Name|last=Hinkes-Jones|first=Llewellyn}} 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.{{cite journal|last1=Weiss|first1=Dan|title=Slutwave, Tumblr Rap, Rape Gaze: Obscure Musical Genres Explained|url=http://www.laweekly.com/music/slutwave-tumblr-rap-rape-gaze-obscure-musical-genres-explained-2409158|journal=LA Weekly|date=July 6, 2012}} 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."{{cite news|last1=Pounds|first1=Ross|title=Why Glo-Fi's Future Is Not Ephemeral|url=http://thequietus.com/articles/04528-glo-fi-chillwave-washed-out-memory-tapes|work=The Quietus|date=June 30, 2010}}

{{Main|Psychedelic funk|Psychedelic soul|Psychedelic rap}}

Following the late 1960s work of Jimi Hendrix, psychedelia began to have a widespread impact on African American musicians.[http://www.allmusic.com/style/psychedelic-soul-ma0000005025 "Psychedelic soul"], Allmusic, retrieved 27 February 2017. 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.{{cite book|editor-last1=Scott|editor-first1=Derek B.|chapter=Dayton Street Funk: The Layering of Musical Identities|title=The Ashgate Research Companion to Popular Musicology|page=275|isbn=9780754664765|year=2009|publisher=Ashgate Publishing }} In the following years, groups such as Parliament-Funkadelic continued this sensibility, employing synthesizers and rock-oriented guitar work into open-ended funk jams.{{cite book|last1=Edmondson|first1=Jacqueline|title=Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture [4 volumes]: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture|date=2013|publisher=ABC-CLIO|page=474}} 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).

Influenced by the civil rights movement, psychedelic soul had a darker and more political edge than much psychedelic rock. 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).[https://www.allmusic.com/album/psychedelic-soul-mw0000036028 psychedelic soul] Retrieved 5 May 2022

Psychedelic rap is a microgenre which fuses hip hop music with psychedelia.{{cite web |url=https://tidal.com/magazine/article/psych-rap-history/1-87724 |title=Psych-Rap: A Trippy History: Inside hip-hop's legacy of mind expansion, from acid-rock to A$AP Rocky. |last=Reed |first=Ryan |date= November 10, 2022 |work=Tidal |access-date=2023-08-16}} Pioneers included New York's Native Tongues collective, headlined by De La Soul, Jungle Brothers and A Tribe Called Quest, and Shock G.{{cite news |url= https://www.washingtonpost.com/entertainment/music/shock-g-digital-underground-humpty-hump/2021/04/24/a517642e-a50a-11eb-85fc-06664ff4489d_story.html|title=Shock G of Digital Underground was a psychedelic rap pioneer who helped hip-hop crossover|last=Weiss|first=Jeff |date=April 24, 2021|newspaper=Washington Post |access-date=2023-08-17}} Though the "trip" in trip hop was more linked to dub music than psychedelia,{{cite book |last=Echard |first=William |date= May 22, 2017|title=Psychedelic Popular Music: A History through Musical Topic Theory |url= https://books.google.com/books?id=XJoqDwAAQBAJ&pg=PA257 |publisher=Indiana University Press|page=257 |isbn=9780253026590}} the genre combined psychedelic rock with hip hop.{{cite book |last= Fonseca|first= Anthony J. |date= 2019 |title= Listen to Rap!: Exploring a Musical Genre|url=https://books.google.com/books?id=GY7CEAAAQBAJ&pg=PT68 |publisher=Greenwood |page=68 |isbn=9798216112006}}

{{see also|Cloud rap}}

Cloud rap is a subgenre of rap that has several sonic characteristics of trap music and is known for its hazy, dreamlike and relaxed production style.{{Cite web|date=July 10, 2013|title=The FACT Dictionary: How dubstep, juke and cloud rap got their names|url=https://www.factmag.com/2013/07/10/the-fact-dictionary-how-dubstep-juke-cloud-rap-and-many-more-got-their-names/|access-date=October 29, 2020|website=FACT Magazine|language=en-US}}{{Cite web|title=Collect This Rare Clams Casino and Lil B Interview About the New Clams Casino Album '32 Levels'|url=https://www.vice.com/en/article/clams-casino-lil-b-interview-32-levels/|access-date=October 29, 2020|website=Vice.com|date=June 3, 2016 |language=en}} Rapper Lil B and producer Clams Casino have been identified as the early pioneers of the style. The term "cloud rap" is derived from its internet origins and ethereal style.{{Cite conference |last1=Wikström |first1=Peter |last2=van Ooijen |first2=Erik |date=2018 |title=Post-authentic digitalism in cloud rap |conference=Popular Music Discourses: Authenticity and Mediatization |location=Karlstad University, Karlstad, Sweden |url=https://www.researchgate.net/publication/333422124|access-date=October 29, 2020|language=en}}

{{Main|Acid house|Acid techno|Trance music}}

{{See also|Acid trance|Goa trance|Psychedelic trance}}

The rave scene emphasized house, acid house and 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.[http://www.allmusic.com/subgenre/rave-ma0000004480 AllMusic] 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|date=February 2016}}

File:TB-303.jpg

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 Tracks" (1987). It mixed elements of house with the "squelchy" sounds and deep basslines produced by the Roland TB-303 synthesizer. As singles began to reach the UK the sound was re-created, beginning in small warehouse parties held in London in 1986–87. During 1988 in the Second Summer of Love it hit the mainstream as thousands of clubgoers travelled to mass raves. 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.[{{AllMusic|class=explore|id=style/d505|pure_url=yes}} "Acid house"], Allmusic, retrieved 27 June 2010.

Trance music originated in the German techno and hardcore scenes of the early 1990s. 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. A writer for Billboard magazine writes, "Trance music is perhaps best described as a mixture of 70s disco and 60s psychedelia".{{Cite journal|last=PhD|first=Kathryn A. Becker-Blease|date=2004-07-13|title=Dissociative States Through New Age and Electronic Trance Music|journal=Journal of Trauma & Dissociation|volume=5|issue=2|pages=89–100|doi=10.1300/J229v05n02_05|s2cid=143859546|issn=1529-9732}} 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. 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. 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.

It soon began to fragment into a number of subgenres, including progressive trance, acid trance, goa trance, psychedelic trance, hard trance and uplifting trance.[{{AllMusic|class=explore|id=style/d2643|pure_url=yes}} "Trance"]{{dead link|date=February 2017}}, Allmusic, retrieved 27 June 2010.

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.

{{Main|New rave}}

File:Klaxons Queens May Ball 2007.jpg

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.K. Empire, [http://observer.guardian.co.uk/review/story/0,,1922523,00.html "Rousing rave from the grave"] The Observer, 5 October 2006, retrieved 9 January 2008. 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.The Guardian, 3 February 2007. "[https://www.theguardian.com/theguide/features/story/0,,2004020,00.html The Future's Bright ..."], retrieved 31 March 2007.

{{see also|Electronic rock|synth-pop||disco|neo-psychedelia}}

Synthedelia is the fusion of psychedelia, electronic music, and avant-garde music, originating in the 1960s.{{cite web | url=https://daily.redbullmusicacademy.com/2018/05/synthedelia | title=Synthedelia: Psychedelic Electronic Music in the 1960s }}

Set and setting are critical in the design of psychiatric facilities and modalities of psychedelic-assisted psychotherapies.{{Cite journal |last=Noorani |first=Tehseen |date=2021 |title=Containment Matters: Set and Setting in Contemporary Psychedelic Psychiatry |url=https://muse.jhu.edu/pub/1/article/806099 |journal=Philosophy, Psychiatry, & Psychology |volume=28 |issue=3 |pages=201–216 |doi=10.1353/ppp.2021.0032 |s2cid=240529037 |issn=1086-3303}} Research has shown that a curated music playlist can be part of a favourable setting.{{Cite journal |last1=Strickland |first1=Justin C. |last2=Garcia-Romeu |first2=Albert |last3=Johnson |first3=Matthew W. |date=2020-12-29 |title=Set and Setting: A Randomized Study of Different Musical Genres in Supporting Psychedelic Therapy |journal=ACS Pharmacol Transl Sci |volume=4 |issue=2 |pages=472–478 |doi=10.1021/acsptsci.0c00187 |issn=2575-9108 |pmc=8033606 |pmid=33860177}}{{Cite web |last=Naftulin |first=Julia |date=2020-11-06 |title=Listen: The playlist scientists used to unlock 'elevated states of consciousness' in people tripping on 'magic' mushrooms for a research study |url=https://www.insider.com/listen-psychedelic-playlist-researchers-use-to-reach-elevated-state-2020-11 |access-date=2023-12-21 |website=Insider |language=en-US}}{{Cite news |last=Lhooq |first=Michelle |date=2021-10-22 |title=Countdown to ecstasy: how music is being used in healing psychedelic trips |language=en-GB |work=The Guardian |url=https://www.theguardian.com/music/2021/oct/22/countdown-to-ecstasy-how-music-is-being-used-in-healing-psychedelic-trips |access-date=2023-12-21 |issn=0261-3077}}

• List of psychedelic folk artists
• List of psychedelic pop artists
• List of psychedelic rock artists{{clear}}

{{reflist|30em}}

• {{cite book|last1=Brend|first1=Mark|title=Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop|date=2005|publisher=Hal Leonard Corporation|isbn=978-0-87930-855-1|url=https://books.google.com/books?id=m6KRDxYOp4UC&q=%22acid+rock%22+%22harder%22&pg=PT91}}
• {{cite book|last=Savage|first=Jon|author-link=Jon Savage|title=1966: The Year the Decade Exploded|publisher=Faber & Faber|location=London|year=2015|isbn=978-0-571-27763-6}}

• {{cite book|last=Chapman|first=Rob|author-link=Rob Chapman (journalist)|title=Psychedelia and Other Colours|url=https://books.google.com/books?id=etmCCgAAQBAJ|year=2015|publisher=Faber & Faber|location=London|isbn=978-0-57128-200-5}}
• Echard, William (2017). Psychedelic Popular Music: A History through Musical Topic Theory. Indiana University Press
• {{cite book|last=Joynson| first=Vernon| title=The Acid Trip: A Complete Guide to Psychedelic Music| year=1984|publisher=Babylon Books| location=Todmorden|isbn= 0-907188-24-9}}
• {{cite book|last=Reynolds|first=Simon|author-link=Simon Reynolds|chapter=Back to Eden: Innocence, Indolence and Pastoralism in Psychedelic Music, 1966–1996|editor=Melechi, Antonio|title=Psychedelia Britannica|location=London|publisher=Turnaround|year=1997|pages=143–65}}

{{psychedelic music|state=expanded}}

{{music genres}}

{{drug use}}

{{Hippies}}

{{Counterculture of the 1960s}}

Category:Pop music genres

Category:Counterculture of the 1960s

Category:Counterculture of the 1970s