Ananda Shankar

Neo-psychedelia is a late-20th-century revival and reinvention of 1960s psychedelic music aesthetics, filtered through post-punk, indie, and experimental sensibilities. It emphasizes hypnotic textures, droning guitars, heavy use of effects (reverb, delay, phasing), analogue organs/synths, and dreamlike or surreal lyricism. Rhythms may draw from motorik and other steady, trance-inducing grooves, while harmony often favors modal colors and repetitive vamps. The style ranges from jangly, melodic songs to dense, feedback-laden soundscapes, and has been highly influential on dream pop, shoegaze, Britpop-adjacent scenes, and modern psych rock.

Raga rock is a 1960s-born fusion of Western rock and Indian classical concepts, characterized by sustained drones, modal (non-chordal) harmony, sitar- or sitar-like guitar timbres, and cyclical rhythmic patterns. The style seeks a hypnotic, transcendental feel by borrowing the raga’s emphasis on a single tonal center and ornamental melodic movement rather than functional chord progressions. Signature features include tambura (tanpura) or tambura-like drones, sitar or sitar-emulating electric guitar lines with bends and slides (meend), tabla-inspired grooves alongside a rock backbeat, and psychedelic studio techniques such as tape loops, reverse guitar, and phasing. Lyrically, songs often reference mysticism, meditation, and inner travel, aligning with 1960s countercultural and psychedelic sensibilities.

Psychedelic is an umbrella term for music that seeks to evoke, emulate, or accompany altered states of consciousness through sound, arrangement, and studio technique. It emphasizes timbral color, drones, modal harmony, surreal or mystical lyrics, and immersive production, often using tape manipulation, extended effects, and non‑Western instruments (notably from Indian classical traditions). The result ranges from delicate, dreamlike textures to dense, kaleidoscopic soundscapes intended to expand perception and dissolve conventional song form.

Funk is a rhythm-forward African American popular music style that centers on groove, syncopation, and interlocking parts. Rather than emphasizing complex chord progressions, funk builds tight, repetitive vamps that highlight the rhythm section and create an irresistible dance feel. The genre is marked by syncopated drum patterns, melodic yet percussive bass lines, choppy guitar "chanks," punchy horn stabs, call‑and‑response vocals, and a strong backbeat. Funk’s stripped-down harmony, prominent use of the one (accenting the downbeat), and polyrhythmic layering draw deeply from soul, rhythm and blues, jazz, gospel, and African rhythmic traditions. From James Brown’s late-1960s innovations through the expansive P-Funk universe and the slicker sounds of the 1970s and 1980s, funk has continually evolved while seeding countless other genres, from disco and hip hop to house and modern R&B.

Psychploitation is a late-1960s studio-driven, budget-conscious offshoot of psychedelic rock that "exploited" the era’s fascination with mind-expansion and far-out sounds. Issued largely by budget and library labels, these LPs were often credited to ad‑hoc studio projects and session players. The music foregrounds fuzz guitars, Farfisa/Vox organs, electric sitar, droning tambura, vibraphone, heavy spring reverb, tape delay, and ping‑pong stereo effects. Tracks tend to be instrumental or minimally voiced, groove-led, and hooky—sometimes covers of current hits—designed as sonic spectacles to sell the psychedelic idea as much as a band. Aesthetically, psychploitation blurs garage-rock grit, lounge/easy listening sheen, exotica motifs, and soundtrack/library sensibilities. Today it’s prized by crate-diggers for its kitsch-meets-innovation charm, sample-ready breaks, and vivid period production.

Sitarsploitation is a retro subgenre of pop, rock, and easy-listening that capitalized on the Western 1960s fascination with Indian sounds—especially the sitar. It typically features catchy, groove-led arrangements where the sitar or electric sitar takes the melodic lead over loungey rhythm sections, lush strings, vibraphone, and wordless choruses. Rather than pursuing strict raga performance practice, sitarsploitation uses the timbre and ornamentation of the sitar in concise, radio-friendly formats. It blends psychedelic textures, exotica ambience, and light orchestral touches with drones and modal riffs inspired by Indian classical music.