Which Artists Popularized Acid Communism In Music?

2025-10-28 22:28:01 34

9 Answers

Oscar
Oscar
2025-10-29 14:27:05
I love geeking out about this stuff, and for me the clearest name to start with is Primal Scream. Their album 'Screamadelica'—especially through Andrew Weatherall's transformational remixes—became shorthand for that collision of 60s psychedelia, rave euphoria, and a left-leaning idea of communal joy that Mark Fisher later called acid communism.

Beyond Primal Scream, the Madchester scene fed into the same feeling: Happy Mondays and The Stone Roses brought rock swagger into dancefloors, while bands and producers like The KLF and 808 State pushed pop gestures into rave theatre. You can also draw a straight line back to Chicago acid house acts such as Phuture and DJ Pierre for the sonic acid element, and further back yet to the psychedelic experiments of The Beatles and Pink Floyd as the cultural ancestors. For me, it’s that mix—rock, house, remix culture, and a kind of collective vision—that those artists popularized, and I still get a thrill from hearing how those threads knot together.
Jolene
Jolene
2025-10-30 01:23:27
I get excited talking about how certain electronic and indie acts made the vibe Fisher described popular. In short: it wasn’t just one band. Primal Scream is the headline act because 'Screamadelica' captured psychedelic euphoria in a post-punk era, but the story spreads across the rave and Madchester worlds. Bands like Happy Mondays and The Stone Roses brought indie audiences to dance culture, while dance acts like The KLF and Orbital turned rave aesthetics into larger performance art. Producers and DJs—Andrew Weatherall in particular—acted as the glue by remixing rock into danceable, communal anthems. If you trace the sound further back, Chicago groups like Phuture gave us the literal acid house signature squelch, and later big-beat acts like The Chemical Brothers and Underworld translated that communal rave spirit for stadium crowds. Personally, I love how messy and shared that genealogy is; it feels like a chain of people trying to make collective joy sound like resistance.
Owen
Owen
2025-10-30 11:20:39
Coming at this from a music-writing angle, I’d frame it like a network: Primal Scream sits at the center because 'Screamadelica' both sonically and culturally bridged psychedelia and rave. Andrew Weatherall’s production work is pivotal—his remixes literally rewrote rock songs into dancefloor hymns. Around that core you have Happy Mondays and The Stone Roses connecting indie scenes to dance culture, while acts like The KLF and 808 State exemplified the playful, subversive side of rave that flirted with spectacle and political ambiguity. On the roots side, Chicago acid house (Phuture, DJ Pierre) supplied the squelchy synth timbres that gave the movement its name; later big-beat and electronica acts—The Chemical Brothers, Orbital, Underworld—helped spread the communal, euphoric energy to bigger venues. For me, what’s fascinating is how producers, bands, and DJs all collaborated and borrowed from one another to make a feeling that felt like a collective project rather than a solo manifesto.
Ulysses
Ulysses
2025-10-30 13:44:31
Thinking about this from a more activist-tinged perspective, the phrase calls less for a playlist and more for a social history. Still, certain artists are repeatedly pointed to as making that social-musical project legible: Primal Scream (through 'Screamadelica'), the Madchester contingents like Happy Mondays and The Stone Roses, and the provocative pop-theater of The KLF. On the electronic/acid side, Chicago pioneers such as Phuture created the acid sound, while UK electronic acts and DJs—Orbital, 808 State, Andrew Weatherall in his producer role—took that sound into collective spaces like raves and clubs. To my ear, these acts didn’t preach politics so much as model a shared, ecstatic form of togetherness; that’s what sticks with me and makes the idea feel useful and alive.
Jasmine
Jasmine
2025-10-31 18:45:48
I’ve always been fascinated by how cultural ideas stick to music scenes, and 'acid communism' is one of those phrases that maps a political hope onto psychedelic soundscapes. Mark Fisher popularized the term in his essay, but if you trace the musical lineage it winds from 1960s psychedelia to krautrock and then into the late 1980s/early 1990s rave and Madchester scenes. So you can point to 60s icons like Jimi Hendrix, The Beatles (especially around 'Sgt. Pepper's Lonely Hearts Club Band'), and Pink Floyd for planting the psychedelic communal vibe.

From there krautrock bands such as Can and Faust pushed the collective experimental ethos, and later Madchester acts—Primal Scream with 'Screamadelica', Happy Mondays, and The Stone Roses—helped translate that communal, ecstatic feeling into dance-rock fusion. Electronic artists and DJs like The Orb, Underworld, The KLF, and early acid house progenitors (think Phuture’s 'Acid Tracks' and DJ Pierre) fed into the same terrain. Fisher’s point was less about a strict roster and more about the shared politics of collective euphoria; still, when people say who popularized that sensibility in music, those names keep coming up. I love how it connects dancefloor joy with bigger hopes for social change—wild, messy, and strangely inspiring.
Anna
Anna
2025-10-31 23:32:57
Short version with some context: Mark Fisher coined the term and pointed to cultural moments rather than a single band. The clearest musical names tied to that idea are Primal Scream (because of 'Screamadelica'), Happy Mondays and The Stone Roses from the Madchester scene, and the KLF for their conceptual rave-pop moves. On the electronic side, pioneers in Chicago acid house such as Phuture created the sonic palette, and UK acts like Orbital and 808 State helped translate it. I think of acid communism less as a genre and more as a political-aesthetic thread those artists pulled at, which makes listening feel oddly communal and hopeful.
Weston
Weston
2025-11-01 11:21:13
I get excited talking about this because for me 'acid communism' is the vibe you felt in the clubs and on the terraces: a feeling, not just a manifesto. Musically that vibe got popular through a mix of psychedelic veterans and rave-era producers. Primal Scream’s 'Screamadelica' is the obvious poster child—its combination of gospel, dub, house and rock crystallized that communal, transcendent energy. The Happy Mondays and The Stone Roses brought the scene into indie-rock, while The Chemical Brothers and The Prodigy gave it a harder, big-beat electronic edge that packed stadiums.

Don’t forget the early house and acid house pioneers either: Phuture’s 'Acid Tracks' and UK DJs who brought Chicago and Detroit sounds across the Atlantic were crucial. The Orb and Underworld offered ambient and techno backdrops that made the dancefloor feel like a temporary cooperative. Saying who ‘popularized’ it is messy, but those crossover acts and DJ collectives were the ones who made it mainstream enough for Fisher and others to talk about it philosophically. I still get chills hearing those records.
Carter
Carter
2025-11-02 09:16:55
I’ll keep this tight: the phrase comes out of Mark Fisher’s writing, but the musical popularizers are a mix of psychedelic forebears and rave-era acts. Think Jimi Hendrix and Pink Floyd for the 60s psychedelic foundation, krautrock like Can for trance experimentation, then a big jump to Primal Scream’s 'Screamadelica', Happy Mondays, and The Stone Roses for the Madchester crossover.

On electronic fronts, The Orb, Underworld, The Chemical Brothers, The KLF, and early acid-house producers such as Phuture (with 'Acid Tracks') carried that communal, ecstatic spirit into clubs and festivals. Those artists collectively made the idea feel real on dancefloors, which is what I find endlessly thrilling.
Uma
Uma
2025-11-03 07:35:26
The whole thing reads to me like a chain of handed torches: 60s psychedelia passed the communal flame to krautrock, which passed it to acid house and Madchester, and by the time Fisher wrote about 'acid communism' the language was there to name a recurring social potential in music. If you want artist names, start with the psychedelic scene—The Beatles and Pink Floyd created the notion that records could be immersive communal experiences. Krautrock bands like Can and Neu! experimented with trance and repetition in ways that prefigured dancefloor collectivism.

By the late 80s and early 90s the artists who really broadcast that collectivist-psychedelic mix were Primal Scream with 'Screamadelica', Happy Mondays, and The Stone Roses in the indie-dance crossover; on the electronic side The Orb, Underworld, The Chemical Brothers, and even The KLF and Orbital popularized ecstatic, political-tinged party music. The DJs and producers from Chicago and Detroit—people tied to early acid house and techno—also supplied the raw sounds. I like how the idea ties ecstatic music to political imagination; it makes listening feel like participation.
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