Holy mother of fuck balls. Elk Minister - The Year of the Elk [Rock, Psychedelia. One camp is saying: mushrooms first, than MDMA on comedown to prolong psychedelia. Sound safer and bareble than: Other camp: mushrooms first, MDMA just little bit later, to have both peaks at the same time. Last camp: MDMA first, mushrooms little bit later, because it is almost impossible to have unpleasant trip like this. What do YOU think? I know there is no final answer, because everyone is different and have different goals and preferences. but anyway, how would you time mushrooms with. TONIGHT: The Beelays, ORBit, Road Waves @ CASBAH.
Psychedelic music. Psychedelia 1960s. Psychedelia and other colours. Psychedelia spot. Psychedelia and brain communication. Psychedelic. Psychedelia wikipedia. Psychedelia at abbey road. Psychedelia: technicolor, drugs, nonsense. Invariably, the terms calls the 1960s to mind: the decade in which inhibitions dropped and the experiences produced by psychedelic drugs seeped into music, art and popular culture. The psychedelic 60s have become almost cliche as a topic of academic study and personal interest. When I told a friend I was writing a book about psychedelia, he wearily responded: “What else is there to say? ” But such a response offers a telling commentary on how easily and how rapidly cultural analysis, and in particular rock music history, slips into orthodoxy. Dip into any of the less analytical accounts of the 60s, for example, and you will find the same frequently aired assumptions about who the significant artists and what the significant events were. The Grateful Dead, Jefferson Airplane, Haight-Ashbury, Woodstock, light shows and LSD – the usual suspects – are name-checked; their importance frequently taken for granted but just as frequently under-evaluated. It’s not that the artists and events referred to above weren’t significant. It’s just that in their desire to eulogise epochs and icons, many chroniclers of the psychedelic era have reduced a host of equally influential cultural initiatives to the margins. The same is true of psychedelia. Too often it’s dismissed as a product of the decade and the drugs. But the phenomenon has a far longer and richer history than is often assumed. Ken Kesey’s famous bus. jmabel/flickr, CC BY-SA The American trip Those generally thought of as the psychedelic pioneers weren’t the only people on the scene, nor were they the first. In the US, for example, groups such as The San Francisco Mime Troupe and The San Francisco Tape Music Center helped shape the experimental ethos of America’s Western coast several years before the more famous Grateful Dead and the Fillmore ballrooms arrived on the scene. As did Ken Kesey and The Merry Pranksters, famous for their “magic bus” journey across America and subsequent acid test parties. Their exploits have been much celebrated, but very little attention has been paid to some key individuals who participated in the Pranksters multimedia mayhem. There was Don Buchla for example, who road tested his prototype “Buchla Box” synthesiser at the acid-test events, and Ron Boise, who constructed the kind of kinetic yard art, sculpted out of ruined automobiles, that is now commonplace at music festivals. And Del Close, an old school beatnik, whose improv school would later inspire everyone from Bill Murray to Amy Poehler. Metal art installation at Burning Man. Jim Urquhart/Reuters The psychedelic century But drawing attention to the diversity within the decade doesn’t go far enough, because the swinging 60s didn’t spontaneously engender psychedelia. It has a whole hidden past that stretches back to the 19th century. Psychedelic associations such as “painting with light”, immersive environments, attempts at total theatre, and other participatory events have a rich history. Such events particularly characterised Bauhaus, for example. Technological innovations such as “ colour organs ” and other prototype electro-mechanical musical instruments go back even further. In Britain, other significant historical echoes are felt, but of an imaginative rather than mechanical variety. There are particularly notable parallels between psychedelic music and Victorian and Edwardian revivalism. Wonderlands Common themes … Alice in Wonderland Victorian children’s literature, and particularly Alice in Wonderland, was described by William Empson as “a taproot” to childhood experience, where “the child has not yet been put wrong by civilisation”. That same taproot attaches itself to the peculiarly British strand of psychedelic pop that briefly flourished in the 1960s, and helps account for all those songs about paper kites, penny farthings, weather veins, yellow submarines, fairgrounds, and circuses. Musically, at the time, psychedelia appeared to come out of nowhere, but in Britain it can be seen in a much broader context of revivalism that periodically surfaces in everything from architecture to the decorative arts. There were other Victorian influences too. Groups like The Who, The Small Faces and the Kinks adopted mannerisms clearly influenced by the songs sung in the music halls a century earlier. The history and evolution of the music hall throws up all kinds of interesting parallels, ranging from the similarities in poster art and client orientated music publishing to the shared love of fatalism and pathos in the characters who inhabited the pop songs of the two respective periods. Yes, the trigger for 60s psychedelia might have been LSD. But it’s not the drug itself that fed the colourful visions of the decade. Instead, acid helped initiate an outpouring of nostalgia and memory that loops back into history. Panic LSD was only made illegal in the UK and USA in October 1966. Written about in almost jocular terms in the UK popular press in the pre-prohibition period, the drug only initiated a full-scale moral panic when The News of The World and The People newspapers began to run a series of scaremongering exposes in February 1967. Just two months earlier, Private Eye magazine had given away a flexi disc with its Christmas issue containing a song by Peter Cook and Dudley Moore which lightheartedly instructed the listener: If you want a kinky caper Then suck a blotting paper It barely caused a ripple of response. But by April 1967 the BBC, caught up in the new moral furore, was banning the Beatles’ A Day In The Life from the airwaves because of the line: “I’d love to turn you on”. By then, such efforts were too late. An entire culture had, in its various ways, already begun to turn on. And how could it have been otherwise? After all, it had a head start of 100 years on its adversaries.
Psychedelia luts pack's log. Psychedelic furs. BBC Radio 6 Music - The History of Psychedelia - A brief history of psychedelia in eight colours The first album to define its own contents as psychedelic was the debut album by Texas garage rockers The 13th Floor Elevators, in October 1966 (The Psychedelic Sounds of the 13th Floor Elevators). Within a year, psychedelia had exploded across the music scene like a giant paint bomb, turning everything from monochrome to technicolour almost overnight and inspiring 1967’s epochal Summer of Love. The reverberations continue to be felt today throughout the worlds of music, art and fashion. But what exactly is psychedelia? The Oxford English Dictionary describes it as “music, culture or art based on the experiences produced by psychedelic drugs” which is slightly reductive - LSD might have been the original inspiration, but it doesn’t explain why psychedelic music is still being produced and enjoyed by people who’ve never dropped acid in their lives. Psychedelia is appealingly vague and open-ended - a melange of philosophies, colours and styles all happening at once. It’s about opening your mind to the myriad possibilities of this world and beyond. It’s about reconnecting with your inner child. It’s exciting, but also a little bit scary. Psychedelia isn’t a destination; it’s all about the journey, man. As 6 Music launches into a week of psychedelic programming - including current bands covering 60s classics, like Mystery Jets doing The Moody Blues ’ Nights in White Satin above - Sam Richards gets you up to speed with this handy psychedelic primer. Psychedelia’s spiritual home is San Francisco, where Ken Kesey and his Merry Pranksters conducted many of their famous mid-60s Acid Tests - mind-expanding bacchanals where the Kool-Aid was laced with LSD. The soundtrack was provided by local bands such as Grateful Dead, Big Brother & The Holding Company and Jefferson Airplane, who all began loosening their sound to enhance the trip. Rock 'n' roll songs were spun out into lengthier jams, incorporating influences from folk, jazz and world music, while lyrics about cars and girls were replaced by more existential concerns and impressionistic vignettes, often inspired by children’s stories. Jefferson Airplane’s White Rabbit, originally written by frontwoman Grace Slick for her previous band The Great Society, used imagery purloined from Lewis Carroll’s proto-psychedelic fairytale Alice in Wonderland, highlighting its references to pills, mushrooms and hookah-smoking caterpillars over a twisted rock bolero. A US Top 10 hit in June 1967, the template for psychedelia was set. Over in London, a small psychedelic scene was coalescing around the UFO Club, whose house bands were Soft Machine and Pink Floyd. Led by the mercurial Syd Barrett, the Floyd played spaced-out deconstructions of rhythm 'n' blues, with whimsical lyrics about dandelions and gingerbread men. Although The Beatles ’ Sgt. Pepper’s Lonely Hearts Band - recorded in an adjacent Abbey Road studio at the same time as Pink Floyd’s debut Piper at the Gates of Dawn - defined the sound of English psychedelia as something vibrant, jolly and inclusive, Pink Floyd’s more unsettling musical vision was to prove equally influential in the long-term. Sadly, as the below clip below from BBC Radio 4 documentary The Twilight World of Syd Barrett outlines, the Floyd frontman was unable to cope with fame and succumbed to mental illness, exacerbated by large quantities of LSD. Roger Waters and David Gilmour took control of Pink Floyd, forging a path from psychedelia to prog rock, ultimately producing an album (1973’s The Dark Side of the Moon) that outsold Sgt. Pepper. Thanks to the vivid cartoon style of artist Heinz Edelmann and a team of cutting-edge animators, The Beatles ’ 1968 film Yellow Submarine provided a joyous visual representation of psychedelia. A fantastical voyage in which the four wise-cracking Beatles restored music and colour to a land tyrannised by the evil blue meanies, Yellow Submarine typified how the advent of psychedelia allowed musicians to experiment with other media and wrest control of their artistic vision from record company bosses. By the end of 1967, straight-up rock bands like The Moody Blues and The Pretty Things were making symphonic concept albums. Even former manufactured moptops The Monkees got to make their own bewildering psychedelic movie called Head. Sixties psychedelia wasn’t all teacups and sunflowers. There was a harder edge to the genre, exemplified by the likes of The Jimi Hendrix Experience, Cream and Blue Cheer. When the initial optimism of the original psychedelic era fizzled out, it was the louder, hairier bands who prevailed, laying the foundations for 70s hard rock and heavy metal. Watch the Experience shoehorn in a cheeky little tribute to fellow travellers Cream at the end of this astonishing TV performance. By the late-60s, psychedelia had begun to infect all corners of the musical universe. In San Francisco, Sly & The Family Stone combined the local psychedelic rock sound with the freeform funk of James Brown. By 1970, even dapper Motown hit-machine The Temptations had turned on and tuned in, releasing the brilliant Psychedelic Shack album. And it was George Clinton’s Funkadelic who picked up the psychedelic baton and ran with it throughout the next decade. Classic albums such as 1973’s Cosmic Slop and the following year’s Standing on the Verge of Getting It On - from which Red Hot Mama is taken - tethered inspired guitar freakouts to taut funk rhythms, creating a library of samples for future hip-hop producers. The records’ eye-popping sleeve design and wiggy cosmic philosophy kept the psychedelic dream alive. Here's George Clinton on Nemone's BBC Radio 6 Music show talking about his perfect evening: At the dawn of the 1980s, a new generation were growing tired of punk’s monochromatic palette and started looking back to the late-60s for inspiration. In the UK, the neo-psychedelia movement was spearheaded by Teardrop Explodes frontman Julian Cope and former Soft Boy Robyn Hitchcock, whose 1981 solo debut Black Snake Diamond Role drew heavily on Syd Barrett whimsy for songs like Acid Bird and The Man Who Invented Himself (Hitchcock talks about some of his early psychedelic influences to BBC Radio 6 Music's Mark Radcliffe in the clip below). Eighties UK indie mainstays Spacemen 3 and Primal Scream initially styled themselves directly on psychedelic bands from the 60s. In Los Angeles, bands such as The Dream Syndicate, Rain Parade and The Bangles - collectively known as the Paisley Underground - combined punk energy with psychedelic wonder. Intriguingly, Prince became a huge fan of the Paisley Underground scene, going psychedelic on his 1985 album Around the World in a Day and naming his new label and studio complex Paisley Park in tribute. When the acid house craze swept the UK in the late-80s, certain similarities with the psychedelic revolution of the late-60s meant that 1988/9 was dubbed the Second Summer of Love. Initially the comparisons were more cultural than musical, but parallels began appearing, not least in the music of The Orb, who released a 40-minute single Blue Room (a Top 10 hit in 1992! ) and collaborated with Gong guitarist Steve Hillage. Latent hippie communities became converted to rave culture, resulting in clubs like Megadog and Return to the Source, the free party scene and genres such as ethno-techno and Goa trance, which evolved into the globally popular genre of psy-trance. Thanks to bands like The Flaming Lips, who’ve been pursuing a cheerfully psychedelic agenda since 1983, the genre has retained a constant appeal for bands looking to push sonic boundaries while still bathing in the wonder of pop music. One of the most inventive psychedelic bands of recent times has been Animal Collective, seen above performing For Reverend Green from their 2005 album Strawberry Jam. Black Mountain represent for the heavier end of the psych spectrum, Mystery Jets continue Syd's legacy, while Tame Impala have taken psych rock onto daytime radio with recent single The Less I Know the Better. Liverpool even has it’s own annual psych fest, headlined this year by The Horrors and Acid Mothers Temple. And proving that psychedelia is nothing if not adaptable, A$AP Rocky has even found a convincing way to combine it with hard-edged hip-hop; recent tracks like L$D advertise his penchant for mind-expanding experiences in no uncertain terms. Sorry, this clip is not currently available.
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Psychedelic era. Psychedelia: the classic poster book. Psychedelia trailer. Psychedelia gaia tv. Psychedelic mushrooms. Psychédélique. Psychedelia gaia. Psychedelia the spot. Psychedelia jen kingwell. Psychedelia junior h. Psychedelia of the black butterfly. PSYCHEDELIA The psychedelic era evolved out of the social consciousness movement engendered by a commitment to civil rights, anti-war protest, the legalization of recreational drugs, and other issues on the part of the youth subculture. These issues were frequently addressed in rock song lyrics while the music itself often employed special effects geared to underscoring the message at hand. For example, the Doors' "Unknown Soldier" (1968) included a marching interlude accented by a drill sergeant's shrieked commands and the discharge of rifles. The Chicago Transit Authority's "Prologue, August 29, 1968" featured an actual recording from the 1968 Democratic National Convention which conveyed the following sequence: black militants exhorting demonstrators, "God give us the blood to keep going"; the beginning of the march; police attempting to disperse marchers; and the demonstrators chanting, "The Whole World's Watching. " Pearl Before Swine's polemic on the horrors of war, Balaklava (1968), began with a turn of the century recording of the trumpet which was blown to commence the fabled charge of the British Light Brigade in 1856. These spacey sound effects, however, paled in contrast to the mind expanding techniques utilized to evoke the psychedelic drug experience. Guitarist Les Paul was the spiritual godfather of studio augmentation as a result of his experiments with overdubbing and multi-tracking; his seminal 1950s recordings with vocalist Mary Ford rivaled big band and orchestral productions for fullness of sound. The unique tones he was able to coax out of his guitar within a studio environment were not equaled until Jimi Hendrix's appearance on the scene. The infancy of stereo recording in the early 1960s had witnessed a succession of sonic experiments primarily within the light pops sector. Enoch Light and the Light Brigade pioneered the spatial left-right channel ping-pong effects later employed in a spectacular manner by Hendrix in his albums, Axis: Bold as Love and Electric Ladyland. The introduction of synthesizers into the recording process by inventors such as Robert Moog in collaboration with Morton Subotnick, Walter (Wendy) Carlos, and other avant garde artists, made available another key tool for rock production wizards. As in so many other genres, the Beatles played a pioneering role in the evolution of psychedelic effects. The group's recording engineer, George Martin, proved extremely facile at reproducing the sounds that the Lennon-McCartney songwriting team professed to have in their heads. Martin's arsenal of studio effects included tapes run backwards, filtered voices, and the inventive use of exotic instruments (e. g., the piccolo trumpet on "Penny Lane") and ambient sounds. The critical raves and commercial success of Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967)--both of which reeked of psychedelic touches--spurred a tidal wave of imitators. The vast majority of rock acts insisted on (or were talked into) doing their own psychedelic projects. Even artists whose prior output appeared to be the antithesis of such studio excess--e. g., roots rocker Johnny Rivers, who was then enjoying a career revival with a series of soft ballads, and blues stylists, the Rolling Stones--were swept up by this new fad. Only Bob Dylan, who released a country-rock masterpiece, John Wesley Harding, at the peak of the psychedelic era, seemed able to run counter to prevailing fashion. Psychedelia was sometimes referred to as "acid rock. " The latter label was generally applied to a pounding, hard rock variant which evolved out of the mid-1960s garage punk movement. By late 1966, the Blues Magoos were calling their brand of wailing blues-rock "psychedelic" music. Although generally devoid of the studio gimmickry typifying the Beatles school of psychedelia, acid rock provided its own form of mind expansion by means of guitar pyrotechnics. Leading practitioners included the Cream, Blue Cheer, and the Amboy Dukes. When rock began turning back to softer, roots-oriented sounds in late 1968, acid rock bands mutated into heavy metal acts. Traces of the psychedelic era can still be found in the stylistic excesses of many third-generation metal groups. Top Artists and Their Recordings The Beatles-- Sgt. Pepper's Lonely Hearts Club Band (1967); Magical Mystery Tour (1967) The Blues Magoos--"(We Ain't Got) Nothin' Yet" (1966); Psychedelic Lollipop (1966); Electric Comic Book (1967); Basic Blues Magoos (1968) The Byrds-- The Notorious Byrd Brothers (1967); "Goin' Back" (1967); "Artificial Energy" (1968) The Cream-- Wheels of Fire (1968); "White Room" (1968) The Doors-- Strange Days (1967) The Family-- Music From a Doll's House (1968) The Grateful Dead-- Anthem of the Sun (1968); Aoxomoxoa (1969) Jimi Hendrix (Experience)-- Are You Experienced? (1967); "Purple Haze" (1967); "Foxey Lady" (1967/8); Axis: Bold As Love (1968); "All Along the Watchtower" (1968); Electric Ladyland (1968); "Crosstown Traffic" (1968); Band of Gypsys (1969); The Cry of Love (1970) Iron Butterfly-- Heavy (1967); In a Gadda Da Vida (1968); Ball (1969) The Jefferson Airplane-- After Bathing at Baxter's (1967) The Lemon Pipers--"Green Tambourine" (1967/8) The Rascals-- Once Upon a Dream (1967); "It's Wonderful" (1967) The Rolling Stones-- Their Satanic Majesties Request (1967) The Small Faces--"Itchycoo Park" (1967/8) The Status Quo--"Pictures of Matchstick Men" (1968) The Strawberry Alarm Clock--"Incense and Peppermints" (1967); Incense and Peppermints (1967); "Tomorrow" (1967/8); "Sit With the Guru" (1968); Wake Up! It's Tomorrow (1968); World in a Sea Shell (1968) The Thirteen Floor Elevators--"You're Gonna Miss Me" (1966); Psychedelic Sounds of the Thirteenth Floor Elevators (1966); Easter Everywhere (1967); Thirteenth Floor Elevators (1968); Bull of the Woods (1969) Bill Wyman--"In Another Land" (1967).
Psychedelia artists. Definition from Wiktionary, the free dictionary Jump to navigation Jump to search English [ edit] Noun [ edit] psychedelia ( countable and uncountable, plural psychedelias) English Wikipedia has an article on: psychedelia Wikipedia The subculture associated with those who take psychedelic drugs. Retrieved from " " Categories: English lemmas English nouns English uncountable nouns English countable nouns.
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