New York had a vast community of droning free-folk music. Pocahaunted, the Los Angeles-based duo of Amanda Brown and Bethany Sharayah, delved into the psychotic tribal droning freak-out of Island Diamonds (2008).
San Francisco-based one-man band Horseflesh (Dereck Donohue) with Synthenesia I (Chambara, 2008),Īnd by New York-based duo Destructo Swarmbots with the colossal Banta, off Clear Light (2007). Animism (2007) formalized Wright's ambient abstract progressive-rock, and Black Ohms (2008) de facto coined a new genre of austere guitar-based soundsculpting.Įxpo '70 were emblematic of the trend towards the "ambient space jam", also represented by
The abstract instrumentals of Expo'70 (1), the brainchild of Missouri-based guitarist Justin Wright, bridged the keyboard-based cosmic music of the 1970s and the guitar-based droning music of the 1990s on works such as Mystical Amplification (2007). Minnesota-based duo Glass Organ (Justin Meyers and Tom Helgerson) dealt with acid/abrasive droning music on Our (2007), containing three pieces each lasting eleven minutes and eleven seconds, at the intersection among hyper-doom metal, psychedelic raga, Japanese noisecore and shoegazing music.Īcre, the project of Seattle-based digital musician Aaron Davis, used mixers, samplers and assorted sound effects to fashion the undulating and multi-layered cosmic drones of Candyflipping (2007) and Monolith (2008). Seattle's duo Growing turned psychedelic trance into an austere and pure science with its subliminal ambient dronescapes for guitars and electronics: Epochal Reminiscence, off The Soul Of The Rainbow And The Harmony Of Light (2004), that diluted a folkish melody into a cycle of ear-piercing tones the pulsating galactic tsunami Wide Open, off His Return (2005) the dense hyper-dilated slowly-shifting Blue Angels, off Color Wheel (2006). The sound of droning guitars was not particularly exciting anymore, shoegazing ecstasy was becoming the equivalent of the new-age music of the 1980s, and psychedelic folksingers were beginning to sound senile.īoston's Paradise Camp 23, the brainchild of multi-instrumentalist Erik Amlee, indulged in the 47-minute shapeless space-noise jam that takes up most of Bar-BQ Dungeon (2001) and then unleashed the 46-minute drone-based jam of Solitaire (2002), bathed in cosmic electronic noise. Impulse still had to offer that had not been heard already a thousand times. However, after four decades it was difficult to see what that original "big bang" of rock music, from which the expansion began. Without that motivation, rock music might have been The search for a psychedelic sound hadīeen the first and foremost motivation to cultivate progressive structures andĬreative arrangements. ( These are excerpts from my book "A History of Rock and Dance Music")ĭroning psychedelia TM, ®, Copyright © 2008 Piero Scaruffi All rights reserved.
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