History
Acid folk is a subgenre of folk music characterized by the use of psychedelic and experimental elements. It emerged in the late 1960s and early 1970s in the United States and United Kingdom during the counterculture movement.
The term "acid" was inspired by the use of psychedelic drugs such as LSD, which were popular among musicians and their fans at the time. Acid folk is often associated with the hippie culture of the late 1960s, which was a period of social and political upheaval.
The first acid folk recordings were made by artists such as the Incredible String Band, who blended traditional folk elements with experimental instrumentation and lyrics. Their 1967 album, "The 5000 Spirits or the Layers of the Onion," is considered a classic of the genre.
Other notable acid folk artists of the time included Donovan, Tim Buckley, and Vashti Bunyan. Many of these musicians collaborated with each other and shared a common focus on exploring new sounds and ideas.
The heyday of acid folk was short-lived, however. By the mid-1970s, the genre had faded from popularity as cultural and musical trends shifted. However, acid folk's influence can still be heard in the work of contemporary artists such as Devendra Banhart and Joanna Newsom.
In the late 1980s and 1990s, a new generation of acid folk artists emerged, inspired by the original wave of musicians but with their own unique interpretations. Bands such as Acid Mothers Temple and Espers blended psychedelic rock with folk influences, creating a new wave of experimental music.
Today, acid folk is recognized as an important subgenre of folk music that helped to push the boundaries of what was considered acceptable in mainstream music. Although it may not have achieved the commercial success of other genres, acid folk's influence can be heard in a wide range of musical styles.
Notable artists
Vashti Bunyan: A British singer-songwriter who released her debut album "Just Another Diamond Day" in 1970, which has become a cult classic in the Acid Folk genre. Her gentle vocals, poetic lyrics, and use of string instruments create a dreamy and ethereal sound.
Tim Buckley: An American singer-songwriter whose unique vocal range and experimental approach to music allowed him to explore Acid Folk, jazz, and psychedelia. His album, "Goodbye and Hello" (1967) reflects his evolving style in the genre.
Incredible String Band: A Scottish band that emerged in the late 1960s, characterized by their use of varied instruments such as sitar, penny whistle, and gimbri. Their album "The 5000 Spirits or the Layers of the Onion" (1967) is a notable work in the genre.
Dr. Strangely Strange: An Irish band whose sound is marked by surreal lyrics, haunting melodies, and a mix of traditional and contemporary instruments. Their album, "Kip of the Serenes" (1969), is an excellent example of their work.
Pearls Before Swine: An American folk-rock band led by Tom Rapp, whose lyrics often touch upon existential themes. Their album "The Use of Ashes" (1970) features experimental soundscapes and intricate melodies.
Comus: An English band whose sound is characterized by dark and unsettling themes, and the use of unconventional instruments such as the crumhorn and viola de gamba. Their debut album, "First Utterance" (1971), is a masterpiece in Acid Folk.
Linda Perhacs: An American singer-songwriter who released her first album, "Parallelograms" (1970), after working as a dental hygienist. Her soft vocals, poetic lyrics, and use of breathy instruments reflect her mystical and spiritual worldview.
Roy Harper: An English musician who blended elements of Acid Folk and rock music in his work. His seventh album, "Stormcock" (1971), features long, intricate guitar solos and poetic lyrics that explore philosophical themes.
The Holy Modal Rounders: An American band known for their irreverent lyrics and eclectic sound that blends elements of bluegrass, psychedelic rock, and Acid Folk. Their album "The Moray Eels Eat The Holy Modal Rounders" (1968) is a classic in the genre.
Shirley Collins: An English singer who helped to revive traditional folk music in the 1950s and 60s. Her album "The Sweet Primeroses" (1967) showcases her exquisite voice and expertise in interpreting traditional ballads.
Broader context
Richard Green, the author of "Acid Folk: A Cultural History," aptly characterizes acid folk as a genre that defies easy classification. It ingeniously melds the traditional tapestries of folk music with daring experimental elements, birthing a sonic landscape that is utterly distinctive and entirely its own. This genre, as a result, becomes a testament to the remarkable possibilities that arise when musical boundaries are pushed to their limit.
Mirroring the ethos of the counterculture movement during the transformative 1960s and 1970s, acid folk emerges as a vivid reflection of self-expression, individuality, and artistic experimentation. Simon Reynolds, in "Rip It Up and Start Again: Postpunk 1978-1984," captures its role in echoing the ideals of that era, celebrating the era's quest for spiritual transcendence and unconstrained creative exploration.
David Stubbs, author of "Future Days: Krautrock and the Birth of a Revolutionary New Music," beautifully articulates acid folk's role as a conduit bridging traditional folk harmonies with the burgeoning soundscape of psychedelic rock and avant-garde compositions. Through this, it weaves a melodic tapestry that unites diverse musical legacies into something novel and exciting.
Indeed, acid folk's allure is potent, captivating both musicians and listeners alike. Its ethereal resonance, often described as dreamlike and otherworldly, carries an air of spirituality and wonder. Ian Anderson, the frontman of Jethro Tull, embraces this mystique, acknowledging the genre's power to transport minds to realms where melodies resonate with the ineffable.
Yet, despite its captivating influence, acid folk has at times been overlooked in historical and critical discourse. As Stephen Thomas Erlewine, the author of "All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul," asserts, it deserves recognition as an enduring cultural movement that has indelibly shaped the musical landscape.
Championed by explorative musicians, acid folk becomes an arena for the reimagining of traditional folk's frontiers. It synthesizes the threads of psychedelia, rock, and experimental sound, birthing a mesmerizing auditory panorama that defies convention. In this narrative, Irwin Chusid's insights from "Songs in the Key of Z: The Curious Universe of Outsider Music" ring true, underscoring the genre's capacity to fashion unprecedented sonic vistas.
Ultimately, acid folk waltzes through time, crafting an evocative symphony of nostalgia while encapsulating the unyielding spirit of experimentation emblematic of its origins. In the words of Richie Unterberger, author of "Unknown Legends of Rock 'n' Roll," this genre weaves an enchanting melody that captures the essence of eras past, while boldly embracing the pioneering ethos that ignited its inception.
Through unconventional instruments, ethereal melodies, and unorthodox song structures, acid folk embodies a dreamlike quality that transcends the ordinary. Spencer Kornhaber, a seasoned journalist and music critic, encapsulates this phenomenon, encapsulating the genre's spirit within its dreamy, mystical reverberations.
Socially, the 1960s and 1970s were a time of great change and upheaval in Western society. This period saw civil rights and anti-war movements, as well as the rise of counterculture and the hippie movement. The idea of communal living, anti-establishmentism, and experimentation with drugs like LSD and marijuana, was pervasive.
Musically, this era saw a multitude of genres and sub-genres emerge, as musicians sought to convey the social and cultural changes that were happening. Folk music had been an established genre for many years by the 1960s, but with the rise of social and cultural change, traditional folk music was no longer enough to express the ideas and feelings of the younger generation.
Technologically, the rise of audio technology played a significant role in the emergence of Acid Folk. Advancements in recording technology made it easier for independent musicians to record and produce their own music, leading to a boom in the number of independent labels and DIY artists.
Record labels also played a significant role in the emergence of Acid Folk. Two notable labels, Elektra Records and Island Records, were instrumental in promoting and releasing music in this genre. Elektra Records signed several prominent Acid Folk artists including Tim Buckley, The Incredible String Band, and Love, while Island Records released albums by Fairport Convention and Nick Drake.
Journalists also played a significant role in the development of Acid Folk. Writers such as Jonathon Green, Richard Nevins, and Lenny Kaye, were instrumental in documenting and promoting the emerging genre. These writers helped to create a narrative surrounding Acid Folk, which influenced its development.
Another significant figure in the emergence of Acid Folk was Linda Perhacs. Her album, "Parallelograms," released in 1970, was a significant influence on the genre. Her blend of traditional folk music with psychedelic and experimental elements helped to define the sound of Acid Folk.