Neo-psychedelia

Last updated

The American neo-psychedelic band The Flaming Lips, performing live in 2006. Flaming Lips smog Coyne Scurlock.jpg
The American neo-psychedelic band The Flaming Lips, performing live in 2006.

Neo-psychedelia (or simply neo-psych) is a genre of psychedelic music that draws inspiration from the music production approaches and songwriting of 1960s psychedelia, either exploring emulations of the sounds of the era [1] or applying its ethos to new styles of music. [5] It has occasionally seen mainstream pop success but is typically explored within alternative music, indie music and underground scenes. [6]

Contents

Neo-psychedelia first developed in the late-1970s as an outgrowth of the British post-punk scene, where it was initially known as acid punk. A neo-psychedelic wave of British alternative rock in the 1980s spawned the subgenres of dream pop and shoegaze. [4] Mainstream artists like Prince and Lenny Kravitz explored the style in the 1980s and 1990s. Neo-psychedelia may also include forays into psychedelic pop, jangly guitar rock, heavily distorted free-form jams, or recording experiments. [1]

Characteristics

Neo-psychedelic artists primarily borrow a variety of musical, visual and aesthetic elements from 1960s and 1970s psychedelic music. Artists such as the Soft Boys, Spacemen 3, Chrome [7] and the Church merged post-punk and jangle pop with psychedelic rock, pop, acid and folk music. Artists drew influences from the Byrds' 12 string guitar sound and the psychedelic free-form improvisations of Syd Barrett's Pink Floyd and Red Krayola. Other influences include the Velvet Underground, Nuggets-style garage psych and underground psychedelic groups, as well as the German krautrock scene. [1]

Some neo-psychedelic bands were explicitly focused on drug use and experiences, [1] and like the acid house movement of the same era, evoked transitory, ephemeral, and trance-like experiences. [8] Several bands have used neo-psychedelic elements, or perform neo-psychedelia, to accompany surreal or political lyrics. [1] In the view of author Erik Morse, "the sounds of American neo-psychedelia emphasized the cryptic margins of avant-rock, incorporating evanescent textures over an immutable bassline, producing a 'heavy' metallic ambience, contra-distinct to the sing-song filigree of British psychedelia". [9]

History

1970s–1980s: Post-punk

Neo-psychedelia, or as they're calling it in England, acid punk ... is one of the two strongest trends in new wave music ... While this may seem a paradox, since punk was largely a backlash against '60s drug culture, in fact acid rock in the '60s was originally a spinoff of that decade's "punk rock" scene.

—Greg Shaw writing in Billboard , January 1978 [2]

Psychedelic rock declined towards the end of the 1960s as bands broke up or moved into new forms of music, including heavy metal music and progressive rock. [10] Like the psychedelic developments of the late 1960s, punk rock and new wave in the 1970s challenged the rock music establishment. [11] At the time, "new wave" was a term used interchangeably with the nascent punk rock explosion. [12] In 1978, journalist Greg Shaw categorized a subset of new wave music as "neo-psychedelia", citing Devo, "to an extent ... [its] first major indication ... [they are] the new darling of the new wave press and opinion-makers, yet nothing about it is remotely 'punk'". [2] Shaw wrote that in England, neo-psychedelia was known as "acid punk", noting that the "self-advertised 'psychedelic punk' band, the Soft Boys, [was] being hotly pursued by several major labels." [2] The San Francisco band Chrome labelled themselves "acid punk" during this era. [13] According to Chrome member Helios Creed, music journalists at the time considered about ten bands – including Chrome, Devo, and Pere Ubu – to be acid punk groups: "They didn't want to call it psychedelia, it was New Wave psychedelia". [14] [7]

By 1978–1979, new wave was considered independent from punk and post-punk (the latter was initially known as "new musick"). [15] [nb 1] Author Clinton Heylin marks the second half of year 1977 and the first half of year 1978 as the "true starting-point for English post-punk". [17] [nb 2] Some of the indie music scene's bands, including the Soft Boys, the Teardrop Explodes, Wah!, and Echo & the Bunnymen, became major figures of neo-psychedelia. [1] [nb 3] In the early 1980s, Siouxsie and the Banshees crafted a "exotic neo-psychedelic pop" with the arrival of guitarist John McGeoch. [20] The early 1980s Paisley Underground movement followed neo-psychedelia. [1] 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, and the term "Paisley Underground" was later expanded to include others from outside the city who explored the same songwriting techniques and influences. [21]

1980s–1990s

In the 1980s and 1990s there were occasional mainstream acts that dabbled in neo-psychedelia, including Prince's mid-1980s work and some of Lenny Kravitz's 1990s output, but neo-psychedelia has mainly been the domain of alternative and indie rock bands. [1] The late 1980s would see the birth of shoegazing, which, among other influences, took inspiration from 1960s psychedelia. [22] Reynolds referred to this movement as "a rash of blurry, neo-psychedelic bands" in a 1992 article in The Observer . [22]

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, the Vines and Super Furry Animals. [1] 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." [5]

2000s–2020s

During the 2000s and 2010s, Southern California's hypnagogic pop and chillwave scenes further developed neo-psychedelia through artists such as Ariel Pink and James Ferraro. [23] [24] Other artists include indie bands such as MGMT and Animal Collective. Around the same time, Australia's neo-psychedelic rock scene emerged which included acts such as Tame Impala, Psychedelic Porn Crumpets, Babe Rainbow, Pond, the Morning After Girls and King Gizzard & the Lizard Wizard. [25]

By the late 2010s and early 2020s, underground rap microgenres such as cloud rap [26] and HexD would incorporate influences from psychedelia. [27]

List of artists

See also

Notes

  1. ↑ Contemporary writers like Jon Savage saw the experimental and radical musical deconstructions of groups like Devo, Throbbing Gristle, Siouxsie and the Banshees, the Slits, and Wire as "post-punk" maneuvers. [16]
  2. ↑ He says that the arrival of guitarist John McKay in Siouxsie and the Banshees in 1977, Magazine's album Real Life (1978), and Wire's new musical direction as factors in this starting point. [17] Journalist David Stubbs wrote that Siouxsie and the Banshees' music in 1982 had got "neo-psychedelic flourishes" with "pan-like flutes" and "treated loops". [18]
  3. ↑ Reynolds surmised that Echo & the Bunnymen's "tuneful" music could be likened to "two other leading postpunk groups to come from Liverpool during this period: Wah! Heat, with their ringing chords and endless crescendos, and the neopsychedelic outfit Teardrop Explodes, whose singer, Julian Cope, described the band's songs as 'cries of joy.'" [19] He also notes that Echo & the Bunnymen were heralded as the harbingers of "new psychedelia", he writes, "despite the fact that in those days they never ingested anything more deranging than pints of ale". [19] The band's manager, Bill Drummond, said: "All that postpunk vanguard stuff, we'd just think that was completely stupid." [19]

References

  1. 1 2 3 4 5 6 7 8 9 10 11 "Neo-Psychedelia". AllMusic . n.d.
  2. 1 2 3 4 Shaw, Greg (14 January 1978). "New Trends of the New Wave". Billboard. Retrieved 23 November 2015.
  3. ↑ Trainer 2016, pp. 409–410.
  4. 1 2 3 Reynolds, Simon (1 December 1991), "Pop View; 'Dream-Pop' Bands Define the Times in Britain", The New York Times , retrieved 7 March 2010
  5. 1 2 Terich, Jeff. "10 Essential Neo-Psychedelia Albums". Treblezine.
  6. ↑ "Neo-Psychedelia Music Genre Overview". AllMusic .
  7. 1 2 Breznikar, Klemen (29 December 2021). "Chrome | Helios Creed | Interview | "Let's create acid punk"". It's Psychedelic Baby Magazine. Retrieved 11 November 2025.
  8. ↑ Smith 1997, p. 138.
  9. ↑ Morse 2009, pp. 144–145.
  10. ↑ "Psychedelic rock" Archived 29 October 2011 at the Wayback Machine , AllMusic, retrieved 27 January 2011.
  11. ↑ Grushkin, Paul (1987). The Art of Rock: Posters from Presley to Punk. Abbeville Press. p. 426. ISBN   978-0-89659-584-2.
  12. ↑ Cateforis 2011, p. 9.
  13. ↑ Reynolds 2005, p. 283.
  14. ↑ Barr, Stuart (1993). "Helios Creed". Convulsion.
  15. ↑ Cateforis 2011, pp. 10, 27.
  16. ↑ Cateforis 2011, p. 26.
  17. 1 2 Heylin, Clinton (2006). Babylon's Burning: From Punk to Grunge. Penguin Books. p. 460. ISBN   0-14-102431-3..
  18. ↑ Stubbs, David (June 2004), "Siouxsie and the Banshees – A Kiss in the Dreamhouse reissue", Uncut . David Stubbs wrote that this concerns Siouxsie and the Banshees album A Kiss in the Dreamhouse .
  19. 1 2 3 Reynolds 2005.
  20. ↑ Miranda Sawyer; Mark Paytress; Alexis Petridis (16 October 2012), Spellbound: Siouxsie and the Banshees (audio documentary), BBC Radio 4 , retrieved 2 May 2017, (from 15mins03secs) exotic neo-psychedelic pop.
    Paytress, Mark (November 2014), "Her Dark Materials", Mojo (252): 82, 1982's A Kiss in the Dreamhouse, a textured venture into orchestrated neo-psychedelia.
  21. ↑ Hann, Michael (16 May 2013). "The Paisley Underground: Los Angeles's 1980s psychedelic explosion". The Guardian .
  22. 1 2 Patrick Sisson, "Vapour Trails: Revisiting Shoegaze Archived 22 October 2014 at the Wayback Machine ", XLR8R no. 123, December 2008
  23. ↑ Soghomonian, Talia (4 August 2010). "How Bands Are Sleepwalking Through The 80s". NME. Retrieved 11 November 2025.
  24. ↑ "'Hypnagogic Pop' and the Landscape of Southern California". Frieze. No. 137. 1 March 2011. ISSN   0962-0672 . Retrieved 11 November 2025.
  25. ↑ Interviews, Clash Magazine Music News, Reviews &; Murray, Robin (10 February 2021). "Australia's Psych Scene Is A Portal To Another World". Clash Magazine Music News, Reviews & Interviews. Retrieved 11 November 2025.{{cite web}}: CS1 maint: multiple names: authors list (link)
  26. ↑ Kornhaber, Spencer (27 May 2015). "Rap Enters Its Prog-Rock Phase". The Atlantic. Retrieved 11 November 2025.
  27. ↑ "THE FACE's guide to the American rap underground". The Face. 30 April 2024. Retrieved 30 June 2025.

Bibliography

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.