Neo-psychedelia

[4] Neo-psychedelia may also include forays into psychedelic pop, jangly guitar rock, heavily distorted free-form jams, or recording experiments.

Some emulated the psychedelic pop and psychedelic rock of bands such as the Beatles and early Pink Floyd, while others adopted Byrds-influenced guitar rock, or distorted free-form jams and sonic experimentalism of the 1960s, with bands like the Red Krayola being a reference point for the latter.

[1] In the view of author Erik Morse, "the sounds of American neo-psychedelia emphasized the cryptic margins of avant-rock, incorporating evanescent textures over an immutable bassline, producing a 'heavy' metallic ambience, contra-distinct to the sing-song filigree of British psychedelia".

[16][nb 2] Some of the indie music scene's bands, including the Soft Boys, the Teardrop Explodes, Wah!, and Echo & the Bunnymen, became major figures of neo-psychedelia.

[1][nb 3] In the early 1980s, Siouxsie and the Banshees crafted a "exotic neo-psychedelic pop" with the arrival of guitarist John McGeoch.

[21] AllMusic states: "Aside from the early-'80s Paisley Underground movement and the Elephant 6 collective of the late 1990s, most subsequent neo-psychedelia came from isolated eccentrics and revivalists, not cohesive scenes."

They go on to cite what they consider some of the more prominent artists: the Church, Nick Saloman's Bevis Frond, Spacemen 3, Robyn Hitchcock, Mercury Rev, the Flaming Lips, and Super Furry Animals.