Heavy Psych

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BLOOD CEREMONY The Eldritch Dark Album Cover The Eldritch Dark
4.67 | 21 ratings
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BLOOD CEREMONY Lord Of Misrule Album Cover Lord Of Misrule
4.63 | 18 ratings
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PURSON The Circle and the Blue Door Album Cover The Circle and the Blue Door
4.83 | 6 ratings
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RUBY THE HATCHET Planetary Space Child Album Cover Planetary Space Child
4.67 | 8 ratings
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UNCLE ACID AND THE DEADBEATS Blood Lust Album Cover Blood Lust
4.57 | 6 ratings
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BLOOD CEREMONY Blood Ceremony Album Cover Blood Ceremony
4.31 | 21 ratings
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BLUES PILLS Lady In Gold Album Cover Lady In Gold
4.47 | 7 ratings
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CAPTAIN BEYOND Captain Beyond Album Cover Captain Beyond
4.26 | 24 ratings
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THE GROUNDHOGS Split Album Cover Split
4.33 | 10 ratings
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PSYCHEDELIC WITCHCRAFT Sound Of The Wind Album Cover Sound Of The Wind
4.39 | 5 ratings
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STRAY Stray Album Cover Stray
4.39 | 5 ratings
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GRAND FUNK RAILROAD Closer to Home Album Cover Closer to Home
4.25 | 7 ratings
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LOBBY LOYDE Plays With George Guitar

Album · 1971 · Heavy Psych
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siLLy puPPy
Born John Baslington Lyde but better known by his stage name LOBBY LOYDE (1941-2007), this guitarist, songwriter and producer is perhaps one of Australia’s greatest under-appreciated musicians from the past having been left behind as a relic from the 1960s and 70s timeline when psychedelic blues rock ruled. LLOYD was born in the extreme western outpost of Longreach in Queensland, Australia but was raised in Brisbane with a musical family where he learned classical piano and violin but his passion was in the guitar where he excelled and in the 1960s played with a series of bands including Purple Hearts and Wild Cherries which both scored hit singles.

Perhaps LOYDE’s most prominent role was as a member of Billy Thorpe & The Aztecs which scored the #8 album “The Hoax Is Over” but lesser known is LOYDE’s solo efforts which showcased his fiery guitar playing and emphasized a unique picking style, a technique that has been referred to as “elastic.” Perhaps LOYDE could be considered the Australian version of Jimi Hendrix as his energetic performances exceeded expectations and has been cited as an influence from various musicians including Henry Rollins and Kurt Cobain. This solo debut album PLAYS WITH GEORGE GUITAR demonstrates LOYDE’s firm control of his instrument of choice with seven excellent tracks that resulted in some of the finest psychedelic blues rock of the entire era.

PLAYS WITH GEORGE GUITAR debuted in September 1971 on the Festival Records label. The album demonstrates LOYDE’s unleashed guitar virtuosity, excellent command of stellar songwriting and an impeccable knack for adding psychedelic influences from his 60s days that the album truly comes across as a veritable bridge between the heavy psych fueled moments of the late 60s along with the modernity of 70s hard rock technicalities. The album’s two monster tracks “Dream” and “Evolution” offer the full spectrum of powerful blues rock sensibilities laced with the full release of the kraken with extraordinary guitar virtuosity and psychedelic couplings. LOYDE’s greater career was kicked off by the release of this album and he became one of the most renowned figures of the entire 1970s Australian pub rock scene.

LOYDE had an uncanny ability to craft eccentric sounds in the context of blues rock. In many ways he sat parallel with Texas born Johnny Winter but his picking style offered more exotic textures along with the creative use of wah-wah pedals and other tricks and trinkets, LOBBY LOYDE truly mastered a unique sound that even to the modern day sounds fresh and somewhat exotic. In addition to the Hendrix inspired blues rock moments, LOYDE’s rowdy pub rock style would eventually lead him to participate in the band Coloured Balls often considered one of Australia’s premiere proto-punk bands of the early 70s which spawned future AC/DC drummer Phil Rudd. The energy level on PLAYS WITH GEORGE GUITAR is intense without sacrificing the blues rock underbelly and by offering a firm sense of tempos, tones and dynamics.

Unfortunately LOYDE’s legacy is largely unknown outside of his Aussie homeland and was a victim of the changing musical tides as the 70s ceded into the 80s however for anyone interested in extraordinarily crafted heavy psych fueled blues rock from the early 70s in the vein of Hendrix, Cream, Blue Cheer, Captain Beyond and Vanilla Fudge with interesting idiosyncratic guitar playing then you simply must check out this outstanding debut from one of Australia’s best kept secrets. This album simply doesn’t stop sizzling from the opening “Everybody Come Together” to the hootenanny from hell wizardry closer “Herreni.” A must for any serious seeker of the guitar masters of the early 70s.

FRANTIC Conception

Album · 1970 · Heavy Psych
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The band which consisted of Max Byfuglin (vocals), Jim Hass (vocals, keyboards), Kim Sherman (guitar), David Day (bass), Dennis Devlin (guitar) and Phil "Gordo" Head (drums) realized that Montana was not the place to make it to the big leagues and took the round about way to Los Angeles via Santa Fe, NM and Colorado Springs, CO. Just one look at the freaky yellow and crimson album cover will make you think that this is some sort of psychedelic version of Black Sabbath or Coven but in reality FRANTIC was a heavy psych band steeped in the psychedelic pop of the 60s due to the strong presence of the organ but also employed a heavier guitar presence than many other bands of this style which made them clear contemporaries of bands like The Pink Fairies, The Stooges, MC5 and Blue Cheer.

Once settled in sunny Los Angeles the band had a better time finding a record deal and signed on to the Lizard Records label where they would release their one and only album CONCEPTION in 1970. Having a polished and distinct sound that employs tight-knit instrumental interplay, heavy rock with guitar solos and oodles of fuzz organ, FRANTIC nailed the more pop oriented side of the heavy psych scene down however the one problem of this album is that it continued the trend of the 60s when bands recorded many cover songs of other bands and therefore this album feels like its more from 1968 then 1970 when the music scene was already shifting to progressive rock as well as the fledgling genre of early heavy metal. Despite the lack of songwriting talent, the band performed the covers quite well and the remaining originals were of very good quality as well.

The album begins with a hard hitting version of “Baby” written by the team of Clive Westlake and Mort Shuman, the latter a stalwart songwriter of Baroque pop that transcended the great Atlantic divide from New York to London. The second cover of the Billy Roberts song “Hey Joe” which was first recorded by “The Leaves” and made popular by the Jimi Hendrix Experience was a rock standard at this point and although it sounds a bit cliche to include this well known classic, FRANTIC did an excellent job at keeping it distinct from Hendrix and offered one of the most laid back and atmospheric tracks on the album. The other covers include Van Morrison’s “Little Girl,” Bonnie Dobson’s “Morning Dew” and the first single of the album “Midnight To Six Man” which was recorded by The Pretty Things a few years prior. The remaining tracks were all originals that sat well next to the reinterpreted covers which gave FRANTIC a distinct personality that sounded like no other. The strength of the album is that the music is upbeat and delivers excellent musicianship.

While not exactly a long lost masterpiece, CONCEPTION is far from a throwaway album that deserves to be buried in the annals of time. In fact this album is the perfect blend of groovy 60s vibes with the up and coming hard rock of the 70s and sits perfectly at the odometer change albeit more steeped in the 60s psych than the 70s heavy at times. It feels like the band would’ve really leaped into the level of excellence with just one more album but given that albums were expensive to record in those days and record labels were saturated with new talent that not every band was able to be nurtured to its full potential. There are many great moments on this one and if you can’t get enough heavy psych of the era with emphasis on catchy pop hooks then FRANTIC’s one and only studio album CONCEPTION is well worth a listen or two.

NINGEN ISU Taihai Geijutsu-Ten

Album · 1998 · Heavy Psych
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Taihai Geijitsu-ten is the seventh album by Ningen Isu. It features the return of Masahiro Goto on drums, who had previously played on the fourth album, Rashoumon in 1993. The album was released on the Trycle label, their only album with that label. After the band's contract with Meldac expired in 1994, they released an album on an independent label in 1995 and then were fortunate enough to release their sixth album on Pony Canyon thanks to a collaboration with a manga artist. But after that, they were still without a regular label and their drummer, Iwao Tsuchiya left the band.

The album title translates as "Degenerate Art Exhibit" and was inspired by the Nazi exhibits of modernist art in the 1930's as examples of degenerate art. Guitarist Shinji Wajima reckoned that rock and pop music were also a type of degenerate art and thought it would make a good album title.

The music here has taken a retro turn once more. The guitar sound is decidedly old school, early seventies, and at least a couple of reviewers have called this album very heavy psych. The opening track, Tainai Meguri, begins with some punchy chords and Goto's psychedelic/early seventies/Ginger Baker-inspired drumming. The album stays pretty close to this approach and wraps up sounding very much like a lost gem of 72/73.

As is usual for a Ningen Isu album, there are heavy stoner rock / early doom metal tracks with a strong Sabbath influence. "Ahen-kutsu no Otoko (The Man in the Opium Den)" and "Dunwich no Kai (The Dunwich Horror)" are two tracks that hammer low and heavy. But there's more to the album than just that.

"Kuzouzu no Scat" is a grooving, hard rock track whose title was inspired by Heian Period Buddhist art in Japan that depicts in nine frames the stages of decay of a human corpse. Wajima's "Chu, churu, chu-chu-chu-chuu, yeah" sounds strangely like Jim Morrison. Suzuki's "Chinurareta Hinamatsuri (Blood-soaked Dolls Day)" is a unique cross of progressive heavy rock and traditional Japanese singing. It also includes what I think is a Taishogoto, a type of koto, a traditional stringed-instrument. Meanwhile, "Kikuningyou no Noroi (Curse of the Chrysanthemum Doll)" is probably the only Ningen Isu song to have any keyboards, but only at the end, and "Ginga Tetsudou 777 (Galaxy Express 777)" is the only track in their catalogue to include horns.

Two other tracks that stand out for me are "Mura no Hazure de Big Bang", a song that captures the band's humorous side. The lyrics open with, "Today is the Sheep's Sports Day / One Sheep, two sheep they jump over the fence". The song's chorus mentions an explosion on the outskirts of the village. It's a pretty fun song. I also really like "Tentai Shikou-shou". This roughly translates as "Celestial Body Dysguesia". Dysguesia in the condition some women experience when they're pregnant and their taste preferences change, though in this case it's the title of a short story. This is possibly one of the band's most melodic songs. It's pretty cool because it begins with a drum pattern and slightly distorted guitar and the bass guitar comes in played high up the neck and the bass strings humming the main melody. It's also unusual because it's one of the very few Ningen Isu songs to include hand claps.

This album gets very high ratings on the Internet with one person ranking this in the number one position for 19 of Ningen Isu's 21 albums. My first reaction when I heard it was that it was indeed their best album. However since then, I have found I like quite a few of Ningen Isu's albums as well and possibly even better. Still, for fans of early seventies heavy rock and progressive rock, this album satisfies very well considered it was released 25 years after the phenomena of this music had passed.

NINGEN ISU Mugen no Juunin

Album · 1996 · Heavy Psych
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After self-producing their previous album and releasing it on an indie label, Ningen Isu's Shinji Wajima and Ken'ichi Suzuki were wondering what their next move should be. They at least had a permanent member for a drummer now with Iwao Tsuchiya, who joined the band in time for 1995's 'Odoru Issun Boushi'. They still had their management office as well. But no label.

As luck would have it, manga artist Hiroaki Samura was a fan of the band and contacted them about doing a collaboration project. The deal was that Wajima and Suzuki were free to write any songs they liked so long as the lyrics could be imagined as being part of Japan's Edo Period. Lyrics mentioning cars, phones, and pachinko were out. Samura would illustrate the album cover and inner sleeve. The album would be released by Pony Canyon, a major label, with a one-time-release contract. The two song writers threw themselves into their work, relishing the new experience of writing for someone else. Commissioned work! Sort of.

Though they were given free rein over what kind of music to record, they naturally stuck with their early seventies heavy rock style with some exceptions. Wajima came up with the idea to feature a bit of traditional Japanese music included in 'Mokko no Komori-uta' as well as a dash in the title track. Of their 21 albums, this seems to be the only album to venture that far into traditional Japanese music territory. I think it's a nice touch, at least for one album, and a refreshing new sound in their catalogue which until this album had been a smorgasbord of seventies-influenced hard rock, heavy rock, heavy psych, and heavy prog with some eighties metal as well.

Song lyrics always had to be considered. How about 'Jigoku', a song about Hell? Well, the Japanese Buddhist concept of hell was around back then for certain. 'Baka-yoi Kurui' (Bacchus Drunk Crazy) was about alcohol, so they were safe there. 'Kuroneko' (Black Cat) with a Sabbath-worship heavy riff was also in the clear. The one song that needed justification was Suzuki's 'Uchu Yuei' (Spacewalk). Suzuki was heavily into Hawkwind at the time and couldn't resist writing a Hawkwind-influenced song complete with spacey sounds. Wajima's logic was that space has always been around so it was okay to include that song on the album.

A few cool tracks to mention for the music, "Sarashi Kubi" is a great opening to the album with a circa '79 NWoBHM riff. "Baka Yoi Kuruhi" has this great swaggering doom riff that breaks into a heavy chugger. This is quite typical of Ningen Isu's style. One of my favourite tracks is "Tsujigiri Kouta Mushuku-hen" which is just such a fun song with some lead guitar melody that sounds like some old hero/action movie theme music. And yeah, Uchuu Yuei has its spacey charms.

I feel is a very strong album and one that is at once unique in the Ningen Isu canon and also true enough to the band's style that it doesn't stick out like a sore thumb. Though not usually considered their absolute best work, 'Mugen no Juunin' is still rather highly regarded. It's unfortunate that this album is out of print and a physical copy is hard to track down without paying a steep price. However, it can be heard on iTunes and YouTube and I think also on Spotify. If you're interested in hearing some unique Japanese heavy rock / heavy prog or want to hear more from this phenomenal band, why not give this album a listen? I'm very thankful that I was able to get a hold of a used copy in very good condition from Yahoo Japan Auction.

BLUE CHEER Vincebus Eruptum

Album · 1968 · Heavy Psych
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The birth of Heavy Metal. In simple terms, metal was born out of a combination of heavy blues rock and psychedelic rock. While metal has gone in several different directions, the earliest forms of metal from the 60's and 70's still live on, especially in the doom metal, grunge, and stoner scenes.

Blue Cheer might not have been the first band to make a metal song (that honor goes to either Riders of the Mark or Clear Light), but to my knowledge they were certainly the first metal band and Vincebus Eruptum the first metal album.

Vincebus Eruptum is one of the heaviest albums ever recorded, as it's dominated by such a wall of distortion that it sounds like their amps are about to blow. The recording technology at the time couldn't even pick up the pure volume. It works though, the playing is so frantic and primal that it all sounds like pure instinct.

The booming cover of Summertime Blues was their only hit, and it's good as are the other covers, but it's the original songs where this album shines. There's no better showcase on this album for heavy metal in full force than Doctor Please. The anxious vocals, booming distortion, the speed of the bridge, and the dark theme of the song all show the beginnings of the genre. Out of Focus and Second Time Around are great too, with the latter shining with wild drumming.

If there's any complaints I have, it's some of the jamming. I'm fine with jamming to an extent, but sometimes it sounds too much like noodling and gets a bit annoying. The following album Outsideinside would improve the band's sound, cutting the annoying jams and improving the production (Even though the production works for how this album sounds).

If you're used to the metal sound of the 80's and 90's or even the 70's, this might be a hard listen. It's really noisy, but every metal fan should hear this album if only to hear the genre's first real album.

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