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Part of a series on
Psychedelia
Arts
Psychedelic art
Algorithmic art ꞏ Cyberdelic ꞏ Diffraction ꞏ Fractal art ꞏ Liquid light show ꞏ LSD art ꞏ Paisley ꞏ Phosphene
Psychedelic music
Acid house ꞏ Acid jazz ꞏ Acid rock ꞏ Acid techno ꞏ Acid trance ꞏ Chillwave ꞏ Hypnagogic pop ꞏ Madchester ꞏ
Neo­psychedelia ꞏ Palm Desert Scene ꞏ Peyote song ꞏ P­Funk ꞏ Psychedelic folk ꞏ Psychedelic funk ꞏ Psychedelic pop ꞏ
Psychedelic rock ꞏ Psychedelic soul ꞏ Psychedelic trance ꞏ Space rock ꞏ Stoner rock ꞏ Trip hop
Psychedelic film
Acid Western ꞏ Stoner film
Psychedelic literature
Culture
Counterculture ꞏ Entheogen ꞏ Smart shop ꞏ Trip sitter ꞏ Psychedelic microdosing
Drugs
25I­NBOMe ꞏ 2C­B ꞏ Ayahuasca ꞏ Cannabis ꞏ DMT ꞏ Ibogaine ꞏ Ketamine ꞏ LSD ꞏ Mescaline ꞏ Peyote ꞏ Psilocybin
mushrooms ꞏ Salvinorin A/Salvia ꞏ San Pedro cactus
List of psychedelic drugs ꞏ List of psilocybin mushrooms ꞏ Psychoactive cactus
Experience
Bad trip ꞏ Ecology ꞏ Ego death ꞏ Psychedelic Press ꞏ Therapy
History
Acid Tests ꞏ Albert Hofmann ꞏ Alexander Shulgin ꞏ Counterculture of the 1960s ꞏ History of LSD ꞏ Owsley Stanley ꞏ
Psychedelic era ꞏ Summer of Love ꞏ Timothy Leary ꞏ William Leonard Pickard
Law
Drug liberalization ꞏ Drug policy of the Netherlands ꞏ Drug policy of Oregon ꞏ Drug policy of Portugal ꞏ Drug policy reform ꞏ
Legality of cannabis ꞏ Legal status of psilocybin mushrooms ꞏ Legal status of Salvia divinorum ꞏ Neurolaw ꞏ
Psilocybin decriminalization in the United States
Related topics
Addiction ꞏ Cannabis ꞏ Cognitive liberty ꞏ Drug checking ꞏ Harm reduction ꞏ Hippie ꞏ MDMA ꞏ Neuroenhancement ꞏ
Neuroethics ꞏ Philosophy of psychedelics ꞏ Psychonautics ꞏ Prohibition of drugs ꞏ Rave ꞏ Recreational drug use ꞏ
Regulation of therapeutic goods ꞏ Self­experimentation ꞏ Surrealism
V ꞏ Tꞏ E

Psychedelic music (sometimes called psychedelia)[1] is a wide range of popular music styles and
genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as 5­
MeO­DMT, DMT, LSD, mescaline, and psilocybin mushrooms, to experience synesthesia and altered
states of consciousness. Psychedelic music may also aim to enhance the experience of using these drugs
and has been found to have a significant influence on psychedelic therapy.[2][3]

Psychedelia embraces visual art, movies, and literature, as well as music. Psychedelic music emerged
during the 1960s among folk and rock bands in the United States and the United Kingdom, creating the
subgenres of psychedelic folk, psychedelic rock, acid rock, and psychedelic pop before declining in the
early 1970s. Numerous spiritual successors followed in the ensuing decades, including progressive rock,
krautrock, and heavy metal. Since the 1970s, revivals have included psychedelic funk, neo­psychedelia,
and stoner rock as well as psychedelic electronic music genres such as acid house, trance music, and
new rave.

Characteristics [edit]

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

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.[4]

A number of features are quintessential to Flanging effect

psychedelic music. Eastern instrumentation, with a
0:00
particular fondness for the sitar and tabla, is
A short sample followed by two flanging
common.[5] Songs often have more disjunctive song versions
structures, key and time signature changes, modal Phaser effect
melodies and drones than contemporary pop music.[4]
0:00
Surreal, whimsical, esoterically or literary­inspired
Unprocessed organ followed by different
lyrics are often used.[6][7] There is often a strong phasing effects
emphasis on extended instrumental segments or
Problems playing these files? See media help.
jams.[8][irrelevant citation] There is a strong keyboard
presence, in the 1960s especially, using electronic organs, harpsichords, or the Mellotron, an early tape­
driven 'sampler' keyboard.[9]

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.[10] In the 1960s there was a use of electronic instruments such as early synthesizers and
the theremin.[11][12] Later forms of electronic psychedelia also employed repetitive computer­generated
beats.[13]

1960s: Original psychedelic era [edit]

Main articles: Psychedelic folk, Psychedelic rock, Acid rock, and Psychedelic pop
See also: Raga rock
Further information: History of lysergic acid diethylamide, Psychedelia, and Psychedelic era

From the second half of the 1950s, Beat Generation writers like William
Burroughs, Jack Kerouac and Allen Ginsberg[14] wrote about and took drugs,
including cannabis and Benzedrine, raising awareness and helping to
popularise their use.[15] 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,[16][17]
and, according to Laurence Veysey, they profoundly influenced the thinking of
the new generation of youth.[18]

The psychedelic lifestyle had already developed in California, particularly in

Timothy Leary, a major
San Francisco, by the mid­1960s, with the first major underground LSD
advocate of the use of LSD
factory established by Owsley Stanley.[19] From 1964 the Merry Pranksters, a in the 1960s,
loose group that developed around novelist Ken Kesey, sponsored the Acid photographed in 1989
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),[20] then known as the Warlocks, known as the psychedelic
symphony.[21][22] 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 Kool­Aid Acid Test in 1968.[23]

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.[24] 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 LSD[25] began to grow among folk and rock
musicians.[26] One of the first musical uses of the term "psychedelic" in the folk scene was by the New
York­based folk group The Holy Modal Rounders on their version of Lead Belly's 'Hesitation Blues' in
1964.[27] Folk/avant­garde 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.[28] His nineteen­minute "The Great San Bernardino Birthday Party" "anticipated
elements of psychedelia with its nervy improvisations and odd guitar tunings".[28] Similarly, folk guitarist
Sandy Bull's early work "incorporated elements of folk, jazz, and Indian and Arabic­influenced dronish
modes".[29] 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".[30]

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.[31] This trend ran in parallel in both America and Britain and as part of the interconnected folk
and rock scenes.[32] As pop music began incorporating psychedelic sounds, the genre emerged as a
mainstream and commercial force.[33] Psychedelic rock reached its peak in the last years of the decade.[7]
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.[34] In America, the 1967 Summer of Love was prefaced by the
Human Be­In event and reached its peak at the Monterey Pop Festival.[35] 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.[36]

By the end of the 1960s, the trend of exploring psychedelia in music was largely in retreat. LSD was
declared illegal in the US and UK in 1966.[37] The linking of the murders of Sharon Tate and Leno and
Rosemary LaBianca by The Manson Family to Beatles songs such as "Helter Skelter" contributed to an
anti­hippie backlash.[38] 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.[39]

Revivals and successors [edit]

Rock and pop [edit]

Post­psychedelic era: Progressive rock and hard rock [edit]

Main articles: Progressive rock and hard rock
See also: Krautrock, Heavy metal music, Space rock, and 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, post­psychedelic music" development; he
cited the country rock and blues/soul­inspired 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".[40] The Psychedelic Sounds of the 13th Floor Elevators released in October 1966[41]
was one of the first rock albums to include the word "psychedelic" in its title.[42] 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 avant­garde 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.[43] According to musicologist Frank Hoffman, post­psychedelic 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.[44] Music scholar
Edward Macan notes that the "post­psychedelic hard rock/heavy metal styles" that emerged had "a
weaker connection to the hippie ethos" and "strongly emphasized the blues progression".[45] Psychedelic
rock, with its distorted guitar sound, extended solos, and adventurous compositions, had been an
important bridge between blues­oriented 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 rock­heavy
metal genre, The Jeff Beck Group and Led Zeppelin, respectively.[46] Other major pioneers of the heavy
metal genre had begun as blues­based psychedelic bands, including Black Sabbath, Deep Purple, Judas
Priest and UFO.[46][47]

According to American academic Christophe Den Tandt, many musicians during the post­psychedelic 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 post­psychedelic rock was hatched in small or medium­sized structures", he adds, naming record
labels such as Virgin Records, Island Records, and Obscure Records.[48] 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.[49] 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.[50] 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".[51] 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.[52] The incorporation of jazz styles
had a major influence on subsequent development of electronic rock.[52] 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.[53]

Another development of the post­psychedelic 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, post­psychedelic 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 post­punk" in the late 1970s, as evinced by the first four albums by
The Cure (featuring blurry photographs of the band members) and Factory Records' dark­colored covers
with serial numbers.[48]

By the mid­1970s, post­psychedelic music's emphasis on musicianship had "laid itself bare to an
iconoclastic rebellion", as Tandt described: "Mid­1970s 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."[48] Along with the psychedelic, folk rock, and British rhythm and blues styles that preceded
it, the music of the post­psychedelic era later became associated with the classic rock category.[48]

Stoner rock, also known as stoner metal[54] or stoner doom,[55][56] is a rock music fusion genre that
combines elements of heavy metal and/or doom metal with psychedelic rock and acid rock.[57] 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".[58][59] Stoner rock is typically slow­to­mid tempo and features a heavily distorted, groove­
laden bass­heavy sound,[60] melodic vocals, and "retro" production.[61] The genre emerged during the
early 1990s and was pioneered foremost by Monster Magnet and the California bands Fu Manchu,
Kyuss[62] and Sleep.[63][64]

Kikagaku Moyo from Japan is considered one the best live psych rock bands[65] recently. Performing world
wide in some of the best known festivals, like levitation festival.

Post­punk, indie rock and alternative rock [edit]

Main article: Neo­psychedelia

Neo­psychedelia (or "acid punk")[66] is a diverse style of music that originated in the 1970s as an
outgrowth of the British post­punk scene. Its practitioners drew from the unusual sounds of 1960s
psychedelic music, either updating or copying the approaches from that era. Neo­psychedelia may include
forays into psychedelic pop, jangly guitar rock, heavily distorted free­form jams, or recording
experiments.[67] Some of the scene's bands, including the Soft Boys, the Teardrop Explodes, and Echo &
the Bunnymen, became major figures of neo­psychedelia.[67] The early 1980s Paisley Underground
movement followed neo­psychedelia.[67] 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.[68]

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
which artists merged alternative rock with acid house and dance
culture as well as other sources, including psychedelic music and
1960s pop.[69][70] The label was popularised by the British music
press in the early 1990s,[71] and its most famous groups include
the Stone Roses, Happy Mondays, Inspiral Carpets, the
Charlatans and 808 State. The rave­influenced scene is widely
seen as heavily influenced by drugs, especially ecstasy (MDMA). The Stone Roses in concert in Milan
in 2012
At that time, the Haçienda nightclub, co­owned 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.[72] 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,[73] 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 neo­psychedelia 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.[67] According to Treblezine's Jeff Telrich: "Primal Scream made [neo­psychedelia]
dancefloor ready. The Flaming Lips and Spiritualized took it to orchestral realms. And Animal Collective—
well, they kinda did their own thing."[74]

Hypnagogic pop, chillwave, and glo­fi [edit]

Main articles: Hypnagogic pop and 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 lo­fi melodies, including chillwave, glo­fi, and hypnagogic
pop.[75] These three terms were described as interchangeable by the Quietus, along with other terms
"dream­beat" and "hipster­gogic pop."[76] Altogether, they may be viewed as a type of synth­based
psychedelic music.[76]

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 up­and­coming bands.[77] In August 2009, "hypnagogic pop"
was coined by journalist David Keenan to refer to a developing trend of 2000s lo­fi and post­noise music in
which artists from varied backgrounds began to engage with elements of cultural nostalgia, childhood
memory, and outdated recording technology.[78]

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 "glo­fi" were soon adopted to describe the evolving
sound of such artists, a number of which had songs of considerable success within independent music
circles.[75] 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 synth­pop.[79] A 2009 review by
Pitchfork's Marc Hogan for Neon Indian's album Psychic Chasms referenced "dream­beat", "chillwave",
"glo­fi", "hypnagogic pop", and "hipster­gogic pop" as interchangeable terms for "psychedelic music that's
generally one or all of the following: synth­based, homemade­sounding, 80s­referencing, cassette­
oriented, sun­baked, laid­back, warped, hazy, emotionally distant, slightly out of focus."[76]
oriented, sun­baked, laid­back, warped, hazy, emotionally distant, slightly out of focus."[76]

Funk, soul, and hip hop [edit]

Main articles: Psychedelic funk, Psychedelic soul, and Psychedelic rap

Following the late 1960s work of Jimi Hendrix, psychedelia began to have a widespread impact on African
American musicians.[80] 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.[81] In the following years, groups such as Parliament­Funkadelic
continued this sensibility, employing synthesizers and rock­oriented guitar work into open­ended funk
jams.[82][81] 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).[82]

Influenced by the civil rights movement, psychedelic soul had a darker and more political edge than much
psychedelic rock.[80] 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).[83]

Psychedelic rap is a microgenre which fuses hip hop music with psychedelia.[84] Pioneers included New
York’s Native Tongues collective, headlined by De La Soul, Jungle Brothers and A Tribe Called Quest,[84]
and Shock G.[85] Though the "trip" in trip hop was more linked to dub music than psychedelia,[86] the genre
combined psychedelic rock with hip hop.[87]

Electronic [edit]

Synthedelia [edit]

Synthedelia is the fusion of Psychedelia, electronic music, and Avant­Garde music, originating in the
1960s.[88]

House, techno, and trance [edit]

Main articles: Acid house, Acid techno, and Trance music
See also: Acid trance, Goa trance, and 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.[89] The genre would develop into oldschool hardcore, which
led to newer forms of rave music such as drum and bass and 2­step, 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]

Acid house originated in the mid­1980s 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 TB­303 synthesizer. As
singles began to reach the UK the sound was re­created,
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 A Roland TB­303 Bassline
then began to penetrate the British pop charts with hits for sequencer
M/A/R/R/S, S'Express, and Technotronic by the early 1990s,
before giving way to the popularity of trance music.[90]

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 trance­like state. A writer for Billboard magazine
writes, "Trance music is perhaps best described as a mixture of 70s disco and 60s psychedelia".[91]
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 techno­trance 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.[92]

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.

New rave [edit]

Main article: New rave

In Britain in the 2000s (decade), the combination of indie rock with

dance­punk was dubbed "new rave" in publicity for Klaxons, and
the term was picked up and applied by the NME to a number of
bands.[93] 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.[93][94]

Music used for psychedelic­assisted therapy [edit] New rave band the Klaxons in
concert in 2007
Set and setting are critical in the design of psychiatric facilities and
modalities of psychedelic­assisted psychotherapies.[95] Research
has shown that a curated music playlist can be part of a favourable setting.[96][97][98]

See also [edit]

List of psychedelic folk artists

List of psychedelic pop artists
List of psychedelic rock artists

References [edit]

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Further reading [edit]

Chapman, Rob (2015). Psychedelia and Other Colours . London: Faber & Faber. ISBN 978­0­57128­
200­5.
Echard, William (2017). Psychedelic Popular Music: A History through Musical Topic Theory. Indiana
University Press
Joynson, Vernon (1984). The Acid Trip: A Complete Guide to Psychedelic Music. Todmorden: Babylon
Books. ISBN 0­907188­24­9.
Reynolds, Simon (1997). "Back to Eden: Innocence, Indolence and Pastoralism in Psychedelic Music,
1966–1996". In Melechi, Antonio (ed.). Psychedelia Britannica. London: Turnaround. pp. 143–65.

V ꞏ Tꞏ E Psychedelic music
Folk (New Weird America) ꞏ Funk ꞏ Pop ꞏ Hip hop ꞏ Rock ꞏ Soul
By prefix Psychedelic (Cinematic soul) ꞏ Trance (Goa trance (Nitzhonot) ꞏ Psydub ꞏ
and style Suomisaundi)
Genres Acid House ꞏ Jazz ꞏ Punk ꞏ Rock ꞏ Techno ꞏ Trance

Chillwave ꞏ Dream­beat ꞏ Freakbeat ꞏ Hypnagogic pop ꞏ Italian occult psychedelia ꞏ

Other Krautrock ꞏ Madchester ꞏ Neo­psychedelia (Dream pop ꞏ Shoegaze) ꞏ
Paisley Underground ꞏ Sampledelia ꞏ Space rock ꞏ Stoner rock ꞏ Tropicália ꞏ Zamrock
Beat Generation ꞏ Cannabis culture ꞏ Counterculture of the 1960s ꞏ Deadhead ꞏ Freak scene ꞏ Grebo ꞏ
Subcultures Hippies ꞏ Jam band ꞏ New Age travellers ꞏ Rave culture ꞏ San Francisco sound ꞏ
Second Summer of Love ꞏ Summer of Love ꞏ UK underground
Acid rock artists ꞏ Neo­psychedelia artists ꞏ Psychedelic folk artists ꞏ Psychedelic pop artists ꞏ
Lists
Psychedelic rock artists
Psychedelic rock in Australia and New Zealand ꞏ Psychedelic rock in Latin America ꞏ Psychedelia ꞏ
See also Psychedelic art (LSD art) ꞏ Psychedelic drug ꞏ Psychedelic era ꞏ Psychedelic experience ꞏ
Psychedelic literature

Category:Drug culture ꞏ Category:Hippie movement ꞏ Category:Psychedelic musical groups

V ꞏ Tꞏ E Lists of music genres and styles

General lists Music genres and styles ꞏ A–F ꞏ G–M ꞏ N–R ꞏ S–Z ꞏ Microgenres ꞏ Uses accordion

Genres
Themes and movements
Cultural and regional genres
Classical and art music traditions ꞏ Electronic (Ambient ꞏ Breakbeat ꞏ EDM ꞏ Hardstyle
ꞏ House ꞏ Industrial ꞏ Techno ꞏ Trance) ꞏ Jazz ꞏ Popular (Country ꞏ Hip hop ꞏ Reggae ꞏ
Rock (Heavy metal ꞏ Punk rock (Hardcore punk)))
Historically informed performance ꞏ Martial ꞏ Progressive ꞏ Psychedelic
Caribbean ꞏ Folk traditions (American (Central ꞏ North ꞏ South) ꞏ Asian ꞏ Caribbean ꞏ
European ꞏ Middle Eastern and North African ꞏ Oceanic and Australian ꞏ
Sub­Saharan African) ꞏ Gamelan

V ꞏ Tꞏ E Recreational drug use

Major recreational drugs
Barbiturates ꞏ Benzodiazepines ꞏ Carbamates ꞏ Ethanol (alcohol) (Alcoholic drinks ꞏ Beer ꞏ Wine) ꞏ
Gabapentinoids ꞏ GHB ꞏ Inhalants (Medical (Nitrous oxide (recreational use)) ꞏ Hazardous solvents
Depressants
(contact adhesives ꞏ Gasoline ꞏ nail polish remover ꞏ Paint thinner) ꞏ Other (Freon)) ꞏ Kava ꞏ
Nonbenzodiazepines ꞏ Quinazolinones
Buprenorphine (Suboxone ꞏ Subutex) ꞏ Codeine ꞏ Desomorphine (Krokodil) ꞏ Dextropropoxyphene
(Darvocet ꞏ Darvon) ꞏ Fentanyl ꞏ Diamorphine (Heroin) ꞏ Hydrocodone ꞏ Hydromorphone (Dilaudid) ꞏ
Opioids
Methadone ꞏ Mitragyna speciosa (Kratom) ꞏ Morphine (Opium) ꞏ Oxycodone (/paracetamol) ꞏ
Tramadol
Amphetamine ꞏ Arecoline (Areca) ꞏ Betel ꞏ Caffeine (Coffee ꞏ Energy drinks ꞏ Tea) ꞏ Cathinone (Khat)
Stimulants ꞏ Cocaine (Coca ꞏ Crack) ꞏ Ephedrine (Ephedra) ꞏ MDPV ꞏ Mephedrone ꞏ Methamphetamine ꞏ
Methylone ꞏ Methylphenidate ꞏ Modafinil ꞏ Nicotine (Tobacco) ꞏ Theobromine (Cocoa ꞏ Chocolate)
Entactogens 2C series ꞏ 6­APB (Benzofury) ꞏ AMT ꞏ MDA ꞏ MDMA (Ecstasy ꞏ Molly)

Bufotenin (Psychoactive toads ꞏ Vilca ꞏ Yopo) ꞏ DMT (Ayahuasca) ꞏ LSA ꞏ LSD­25

Psychedelics ꞏ Mescaline (Peruvian torch ꞏ Peyote ꞏ San Pedro) ꞏ Psilocybin / Psilocin
(Psilocybin mushrooms)
DXM (recreational use) ꞏ Glaucine ꞏ Inhalants (Nitrous oxide (recreational use) ꞏ
Dissociatives alkyl nitrites ꞏ poppers ꞏ amyl nitrite) ꞏ Ketamine ꞏ MXE ꞏ Muscimol
(Amanita muscaria) ꞏ PCP ꞏ Salvinorin A (Salvia divinorum)
Hallucinogens
Atropine and Scopolamine (Atropa belladonna ꞏ Datura ꞏ Hyoscyamus niger ꞏ
Deliriants
Mandragora officinarum) ꞏ Dimenhydrinate ꞏ Diphenhydramine
THC (Cannabis (Marijuana) ꞏ Hashish ꞏ Hash oil) ꞏ
Cannabinoids Neocannabinoid / synthetic cannabinoids (JWH­018 ꞏ APICA ꞏ APINACA ꞏ
Spice)
Oneirogens Calea zacatechichi ꞏ Silene capensis

Club drugs Cocaine ꞏ Quaaludes ꞏ MDMA (Ecstasy ꞏ Molly) ꞏ Nitrous oxide (recreational use) ꞏ Poppers

Drug culture
420 ꞏ Cannabis consumption ꞏ Cannabis cultivation ꞏ Cannabis edible ꞏ Cannabis rights ꞏ
Cannabis rights leaders ꞏ List of cannabis rights organizations ꞏ Cannabis smoking ꞏ
Cannabis culture Cannabis Social Club ꞏ Cannabis tea ꞏ Cannabis vaping ꞏ Head shop ꞏ
Legal history of cannabis in the United States ꞏ Legality of cannabis ꞏ Marijuana Policy Project ꞏ
Medical cannabis ꞏ NORML ꞏ Cannabis and religion ꞏ Stoner film
Coffee culture Coffee break ꞏ Coffeehouse ꞏ Latte art ꞏ Teahouse

Bartending ꞏ Beer culture ꞏ Beer festival ꞏ Binge drinking ꞏ Diethyl ether ꞏ Drinking games ꞏ
Drinking culture Drinking song ꞏ Happy hour ꞏ Hip flask ꞏ Nightclub ꞏ Oktoberfest ꞏ Pub ꞏ Pub crawl ꞏ Sommelier ꞏ
Sports bar ꞏ Tailgate party ꞏ Wine bar ꞏ Wine tasting
Psychonautics ꞏ Art ꞏ Drug ꞏ Era ꞏ Experience ꞏ Literature ꞏ Music ꞏ Microdosing ꞏ Smart shop ꞏ
Psychedelia
Therapy
Cigarette card ꞏ Fashion cigarettes ꞏ Cloud­chasing ꞏ Loosie ꞏ Smokeasy ꞏ Smoking fetishism ꞏ
Smoking culture
Tobacco smoking
 Chasing the dragon ꞏ Club drug ꞏ Counterculture of the 1960s ꞏ Dance party ꞏ Drug paraphernalia
ꞏ Drug tourism ꞏ Entheogen ꞏ Hippie ꞏ Needle sharing ꞏ Nootropic ꞏ Party and play ꞏ Poly drug use
Other
ꞏ Rave ꞏ Religion and drugs ꞏ Self­medication ꞏ Sex and drugs ꞏ Urban legends about drugs ꞏ
Whoonga

Legality of drug use

International Drug Control Conventions (1961 Narcotic Drugs ꞏ 1971 Psychotropic Substances ꞏ
International 1988 Drug Trafficking) ꞏ Other treaties addressing drugs (Law of the Sea Convention ꞏ
Convention Against Doping ꞏ Council of the European Union decisions on designer drugs)
Drug policy (Decriminalization ꞏ Legalization ꞏ Prohibition ꞏ Regulation ꞏ Supply reduction) ꞏ
Policy reform (Demand reduction ꞏ Drug Policy Alliance ꞏ Harm reduction ꞏ
State level
Law Enforcement Action Partnership ꞏ Liberalization (Latin America) ꞏ
Students for Sensible Drug Policy ꞏ Transform Drug Policy Foundation)
Australia ꞏ Canada ꞏ Czech Republic ꞏ Germany ꞏ India ꞏ Netherlands ꞏ Portugal ꞏ Slovakia ꞏ
Drug policy Soviet Union ꞏ Sweden ꞏ Switzerland ꞏ United States (Just Say No ꞏ
by country Office of National Drug Control Policy ꞏ School district drug policies ꞏ California ꞏ Colorado ꞏ Maryland ꞏ
Oregon ꞏ Virginia)
Alcohol legality ꞏ Anabolic steroid legality ꞏ Cannabis legality ꞏ Cocaine legality ꞏ
Drug legality Methamphetamine legality ꞏ Psilocybin decriminalization in the U.S. ꞏ Psilocybin mushrooms legality ꞏ
Salvia legality
Arguments for and against drug prohibition ꞏ Cannabis rights ꞏ Capital punishment for drug trafficking ꞏ
Cognitive liberty ꞏ Designer drug ꞏ Drug court ꞏ Drug possession ꞏ Drug test ꞏ Narc ꞏ
Other
Politics of drug abuse ꞏ War on drugs (Mexican drug war ꞏ Plan Colombia ꞏ Philippine drug war) ꞏ
Zero tolerance

Other
Drug Coca production in Colombia ꞏ Drug precursors ꞏ Opium production in Afghanistan
Drug
production ꞏ Rolling meth lab
production
and trade Illegal drug trade (Colombia) ꞏ Darknet market ꞏ Pharmaceutical distribution
Drug trade
(Beer shop ꞏ Cannabis shop ꞏ Liquor store ꞏ Liquor license)
Abuse ꞏ Addiction ꞏ Date rape drug ꞏ Dependence ꞏ Driving impaired ꞏ Drug harmfulness
Issues with (Effects of cannabis) ꞏ Drug­related crime ꞏ Fetal alcohol spectrum disorder ꞏ
drug use Long­term effects of cannabis ꞏ Neurotoxicity ꞏ Overdose ꞏ Passive smoking (of tobacco or other
substances)
Drug checking ꞏ Drug legalization ꞏ Drug rehabilitation ꞏ Needle and syringe programmes ꞏ
Opioid replacement therapy ꞏ Pharmacovigilance ꞏ Reagent testing ꞏ
Harm reduction
Regulation of therapeutic goods ꞏ Responsible drug use ꞏ Substance abuse prevention ꞏ
Supervised injection site
Countries by Alcohol consumption ꞏ Cocaine use ꞏ Cannabis (Annual use ꞏ Lifetime use) ꞏ Opiates use ꞏ
drug use Tobacco consumption

V ꞏ Tꞏ E Hippies
Etymology ꞏ Beat Generation/Beatniks ꞏ Central Park be­ins ꞏ Counterculture of the 1960s ꞏ
Red Dog Experience ꞏ San Francisco sound ꞏ Drop City ꞏ Sunset Strip curfew riots ꞏ
History of the Love Pageant Rally ꞏ Haight­Ashbury ꞏ Human Be­In ꞏ Mantra­Rock Dance ꞏ Summer of Love ꞏ
hippie movement Fantasy Fair ꞏ Monterey Pop Festival ꞏ Newport Pop Festival ꞏ Sky River Rock Festival ꞏ
People's Park ꞏ Woodstock ꞏ Glastonbury Festival ꞏ The Farm ꞏ Piedra Roja ꞏ
Festival Rock y Ruedas de Avándaro ꞏ Nambassa
Ken Kesey and the Merry Pranksters (Acid Tests ꞏ Furthur bus) ꞏ Electrohippies ꞏ Diggers ꞏ
People and groups San Francisco Oracle ꞏ Haight Ashbury Free Clinics ꞏ Haight­Ashbury Switchboard ꞏ Yippies ꞏ
Wavy Gravy ꞏ Hog Farm ꞏ The Brotherhood of Eternal Love ꞏ Rainbow Family
Back­to­the­land movement ꞏ Free love ꞏ Anti­authoritarianism ꞏ Simple living ꞏ
Politics and ethics Environmentalism ꞏ Pacifism ꞏ Communalism ꞏ Counterculture ꞏ Bohemianism ꞏ
Make love, not war ꞏ Turn on, tune in, drop out ꞏ Vegetarianism (Veganism)
 Psychedelia ꞏ Flower power ꞏ Hippie trail ꞏ Hippie exploitation films ꞏ Happening ꞏ
Culture and fashion Peace symbols ꞏ Bell­bottoms ꞏ Love beads ꞏ Long hair ꞏ Tie­dye ꞏ Intentional community
(communal living) ꞏ Free festival ꞏ Music festival ꞏ Flower child
Folk music ꞏ Folk rock ꞏ Protest song ꞏ Psychedelic music ꞏ Psychedelic folk ꞏ
Psychedelic rock ꞏ Psychedelic soul ꞏ Psychedelic pop ꞏ Psychedelic trance ꞏ Acid rock ꞏ
Music
Space rock ꞏ Progressive rock ꞏ Raga rock ꞏ World music ꞏ New­age music ꞏ Jam bands ꞏ
List of jam band music festivals ꞏ List of historic rock festivals
Psychedelics
Cannabis ꞏ DMT ꞏ LSD ꞏ Psilocybin mushroom ꞏ Mescaline ꞏ Peyote
and other drugs

Deadhead ꞏ Feral ꞏ Flower child ꞏ Freak scene ꞏ Housetrucker ꞏ Jesus freak ꞏ Jipitecas ꞏ
Hippie related
La Onda ꞏ Lebensreform ꞏ Mánička ꞏ New Age (New Age travellers) ꞏ Radical Faeries ꞏ Rave ꞏ
subcultures
UK underground ꞏ Woodstock Nation ꞏ Zippie
List of films ꞏ List of books and other publications ꞏ Subculture (Cannabis culture ꞏ Cyberdelic ꞏ
Head shop) ꞏ Underground press (press syndicate ꞏ list) ꞏ Legend of the Rainbow Warriors ꞏ
Free Speech Movement ꞏ Anti­war movement ꞏ Civil rights movement ꞏ Protests of 1968 ꞏ
Related
Chicago Seven ꞏ New Left ꞏ New social movements ꞏ Postmaterialism ꞏ Neotribalism ꞏ
Hungry generation ꞏ Sexual revolution ꞏ Second Summer of Love ꞏ Neo­psychedelia ꞏ
Baby boomers

V ꞏ Tꞏ E Counterculture of the 1960s (timeline)

Arts Black Arts Movement ꞏ Psychedelic art ꞏ Psychedelic music ꞏ Youthquake

San Francisco Renaissance ꞏ Beatlemania ꞏ British Invasion ꞏ Mods and rockers ꞏ

Cultural events Swinging Sixties ꞏ Hippie movement (Human Be­In ꞏ Summer of Love) ꞏ Bed­Ins for Peace ꞏ
Woodstock
American Indian Movement ꞏ Anti­nuclear movement ꞏ Back­to­the­land movement ꞏ
Black Power movement ꞏ Civil rights movement ꞏ Dialoguero ꞏ Free school movement ꞏ
Social and political
Free Speech Movement ꞏ Gay liberation ꞏ
movements
Opposition to United States involvement in the Vietnam War (protests) ꞏ Second­wave feminism
(Women's liberation movement) ꞏ Sexual revolution (United States)
Media Underground press (newspapers)

Subcultures Freak scene ꞏ Hippie ꞏ Mod ꞏ Rocker ꞏ Rude boy ꞏ UK underground ꞏ Yippies

Categories: Psychedelic music Pop music genres Counterculture of the 1960s

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