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Psychedelic music
Psychedelic music (sometimes psychedelia〔C. Heylin, ''The Act You've Known For All These Years: the Life, and Afterlife, of Sgt. Pepper'' (London: Canongate Books, 2007), ISBN 1-84195-955-3, p. 85.〕) covers a range of popular music styles and genres influenced by psychedelic culture that attempted to replicate or enhance the psychedelic experiences of psychedelic drugs. It emerged during the mid-1960s among folk rock and blues rock bands in the United States and Britain.
Psychedelic bands often used new recording techniques and effects, drawing on non-Western sources such as the ragas and drones of Indian music. Psychedelic influences spread into folk, rock, and soul, creating the subgenres of psychedelic folk, psychedelic rock, psychedelic pop and psychedelic soul in the late 1960s before declining in the early 1970s. Psychedelic music bands expanded their musical horizons, and went on to create and influence many new musical genres including progressive rock, kosmische musik, electronic rock, jazz rock, heavy metal, glam rock, funk, electro and bubblegum pop. Psychedelic music was revived in a variety of forms of neopsychedelia from the 1980s, in psychedelic hip hop and re-emerged in electronic music in genres including acid house, trance music and new rave.
== Characteristics ==
A number of features are often included in psychedelic music. Exotic instrumentation, with a particular fondness for the sitar and tabla are 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 complex 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.〕〔 There is often a strong emphasis on extended instrumental solos or jams, typically featuring a heavily distorted electric guitar as the main instrument.〔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, pp. 64–6.〕 Electric guitars are used to create feedback, and are played through wah wah and fuzzbox effect pedals.〔P. Prown, H. P. Newquist and J. F. Eiche, ''Legends of Rock Guitar: the Essential Reference of Rock's Greatest Guitarists'' (London: Hal Leonard Corporation, 1997), ISBN 0-7935-4042-9, p. 48.〕 There is a strong keyboard presence, in the 1960s this 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, 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 primitive electronic instruments such as early synthesizers and the theremin.〔J. DeRogatis, ''Turn On Your Mind: Four Decades of Great Psychedelic Rock'' (Milwaukie, Michigan: Hal Leonard, 2003), ISBN 0-634-05548-8, p. 230.〕〔Richie Unterberger, Samb Hicks, Jennifer Dempsey, "Music USA: the rough guide" (Rough Guides, 1999), ISBN 1-85828-421-X, p. 391.〕 Later forms of electronic psychedelia also employed repetitive computer-generated beats.〔G. St. John, ''Rave Culture and Religion'' (Abingdon: Routledge, 2004), ISBN 0-415-31449-6, p. 52.〕
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