ABSTRACT New Zealand started as its own counter-culture, and its history of state-controlled broadcasting, conservative Britishness, youth delinquency and drugs meant that “the” counterculture of the 1960s played out very differently to elsewhere. Psychedelic rock fared the worst of all, and the reasons for this are manifold. Numerous artists experimented with psychedelia, but the music of the...
ABSTRACT This article discusses the development of a psychedelic music scene in the Philippines during the 1970s and onwards. Pioneering acts such as the Juan de la Cruz Band, Asin, and Sampaguita emulated the styles and themes of the psychedelic rock genre in Britain and the United States to produce songs that covertly referenced countercultural activities, particularly drug-taking and its...
ABSTRACT This article discusses the Polish psychedelic music movement of the 1960s and 1970s as a phenomenon located on the perimeter of the Western music culture. Musically, Polish psychedelic bands came mainly from the hippie milieu; they drew on the psychedelic styles developed in the West, but saturated with local specifics both in the music and lyrics. Moreover, as the psychedelic style...
ABSTRACT This article discusses how the recordings made by Brazilian singers Caetano Veloso and Gilberto Gil while in exile in London in the early 1970s adapt and color the ideas first drafted in Brazil several years earlier as part of the Tropicália movement. While the music on those records continues to reflect the tropicalist principles of cultural anthropophagy and other ideas of the...