Italian Occult Psychedelia
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Italian Occult Psychedelia
Italian occult psychedelia (IOP) is a subgenre of Italian psychedelic music characterized by obscure atmospheres. Italian occult psychedelia was coined by journalist Antonio Ciarletta in an article published by Italian music magazine ''Blow Up'', in January 2012. A festival called Thalassa has occurred in Rome since 2013 to celebrate Italian occult psychedelia bands. Characteristics The music form has emerged as a form of hauntology, an engine of reactivation of an Italian collective memory. The features of this shared past are related to the imagery of Italian genre films as cannibal movies, spaghetti westerns, Italian B horror movies and their soundtracks, and are related also to the violent, obscure and esoteric folklore so well outlined in the essays of Ernesto De Martino and in the documentaries of Luigi Di Gianni. "The darkness of human mind and the superstitions of old religions are leit-motifs that run through Giallo films and the music of IOP bands is hardly surprisi ...
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Psychedelic Music
Psychedelic music (sometimes called psychedelia) is a wide range of popular music styles and genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as LSD, psilocybin mushrooms, mescaline, and cannabis 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. 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, neo-psychedelia, and sto ...
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