Freakbeat is a name sometimes used generally to denote rare, collectable, and obscure British pop and rock records of the British Invasion. Elements of the freakbeat sound include strong direct drum beats, loud and frenzied guitar riffs, and extreme effects such as [1 ] fuzztone, flanging, distortion and compression or phasing on the vocal or drum tracks.
Though often used to describe the European counterpart to the psychedelic
garage rock of American groups like The Seeds, The Thirteenth Floor Elevators, and The Standells, and although many artists on the European continent also contributed, freakbeat is most often applied to music originating in the UK. The term was invented in the 1980s by the music journalist Phil Smee to retroactively describe a music style that has been described as a missing link between the early-to-mid-1960s mod R&B scene and the psychedelic rock and progressive rock genres that emerged in the late 1960s with bands such as Pink Floyd. Freakbeat music was typically created by four-piece bands experimenting with studio production techniques. Some of the best-known examples include "Take a Heart" by The Sorrows, "Making Time" by The Creation, "Atmospheres" by Wimple Winch and arguably "I Can Hear the Grass Grow" by The Move. Much of the material collected on Rhino Records's 2001 box-set compilation can be classified as freakbeat. The only definitely Freakbeat record to chart was Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964-1969 Anyway, Anyhow, Anywhere by The Who.
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