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SENDELICA

Psychedelic/Space Rock • United Kingdom


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Sendelica biography
Bio taken from the band's page at their label's website (RAIG):

SENDELICA are an unashamed psychedelic trio of Pete Bingham on guitars & electronics (well known for his work with KALD), Glenda Pescado on bass (of THE SURF MESSENGERS, and former of NICK TURNER'S ALL STARS) and Paul Fields on drums. Hailing from the small nation of Wales, they are an experimental outfit whose work is in some sense reminiscent of early Pink Floyd psychedelic outings mixed up with occasional heavy riffing, and late Orb dub-ambient musings. The band had their first TheOwlsHaveEyes EP released in July 2006 on their own FRG Records and featured guest vocalist Chris Gibbs and keyboardist Roger Morgan. The company played at several of last years festivals in the UK before resuming work on their debut album which featured guest appearances by vocalist Sarah E, synth-wizard Dick Turner (of SOUNDWAVES and MECHANICS INSTITUTE) and keyboardist Roger Morgan again. The sessions also included the recording debut of new drummer Paul Fields. The album, entitled Entering The Rainbow Light was finished in December and was released at the end of January 2007.

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SENDELICA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SENDELICA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.95 | 3 ratings
Spaceman Bubblegum And Other Weird Tales From The Mercury Mind
2007
3.05 | 3 ratings
The Girl From the Future Who Lit Up the Sky With Glden Worlds
2009
4.00 | 3 ratings
Streamedelica, She Sighed As She Hit Rewind On The Dream Mangler Remote
2010
3.17 | 5 ratings
The Pavilion of Magic and the Trials of the Seven Surviving Elohim
2011
4.00 | 6 ratings
The Satori In Elegance Of The Majestic Stonegazer
2012
3.14 | 3 ratings
The Kaleidoscopic Kat and It's Autoscopic Ego
2013
4.04 | 5 ratings
Anima Mundi
2015
3.75 | 8 ratings
I'll Walk With The Stars For You
2016
3.96 | 8 ratings
The Cromlech Chronicles
2016

SENDELICA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Live At Kozfest July 2012
2012
3.96 | 5 ratings
Live at Crabstock
2014
4.04 | 4 ratings
Live From the 7th Psychedelic Network Festival 2014
2015
4.00 | 1 ratings
Live At Immerhin
2016

SENDELICA Videos (DVD, Blu-ray, VHS etc)

SENDELICA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
The Megaliths: The Movie Soundtracks Volume 1 and 2
2013
3.96 | 5 ratings
The Fabled Voyages of the Sendelicas
2014
4.00 | 1 ratings
Psychedelic Battles Volume One (with Da Captain Trips)
2015

SENDELICA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 1 ratings
Screaming And Streaming Into The Starlit Nite
2010
0.00 | 0 ratings
The Mellow Mushroom Cosmic Cow
2010
4.00 | 1 ratings
A Nice Pear
2010
4.86 | 3 ratings
Ziggy Stardust
2016
4.00 | 1 ratings
Nite Flights
2016

SENDELICA Reviews


Showing last 10 reviews only
 Nite Flights by SENDELICA album cover Singles/EPs/Fan Club/Promo, 2016
4.00 | 1 ratings

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Nite Flights
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Welsh band SENDELICA have become quite the presence in the UK rock scene, at least for those who tend to favor psychedelic rock and space rock. They release a handful or so of albums, EPs and singles annually, and from what I can see they are quite the active live band these days as well. And they sell too. The single "Nite Flights" was released by UK label Fruits de Mer Records towards the tail end of 2016, and is already sold out from the label. For those who may have an interest, some copies may still be lurking in shops here and there though.

But apart from being a band with a steadily growing popularity, this is a band that also release good music. This single is merely one more example of just that. It is a cover tune, that is the specialty of Fruits de Mer Records after all, in this case the title track from the final album by The Walker Brothers.

The original is not known by me, but this cover version sounds like one that expands on the original ever so slightly. The slightly cold, firm female lead vocals for starters, but also the rock solid groove that push this track onward like a steam engine at full power. With a distanced piano and mystic, ethereal textures floating on top.

The instrumental B-side is even more impressive however. The percussion has been expanded, the firmness of the instrumentation toned down, and with an ongoing solo duel between the saxophone and the guitar, both of which by accident or design produce a motif and movement that to my mind closely resemble the sax solo in Gerry Rafferty's classic Baker Street.

I often find myself thinking about Hawkwind when I listen to Sendelica's music. So is the case here, although my impression here is that this song in general style resides somewhere on the halfway stage between Hawkwind and David Bowie, if that makes any sense to anyone. If it does, and this sounds interesting, this is a single that now needs to be hunted down through either mail order shops or the second hand market. If anyone feels like doing so after reading this: Happy hunting.

 Psychedelic Battles Volume One (with Da Captain Trips) by SENDELICA album cover Boxset/Compilation, 2015
4.00 | 1 ratings

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Psychedelic Battles Volume One (with Da Captain Trips)
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars The oddly named production "Psychedelic Battles - Volume One" is a joint album featuring the talents of prolific Welsh band SENDELICA and the material of Italian relative newcomers Da Captain Trips. The album was released in the spring of 2015 through Italian label Vincebus Eruptum Records.

This production have obviously been made with a vinyl release in mind, with album sides clocking in at 23 and 22 minutes respectively. Sendelica provides the material for the A-side with a massive, epic length excursion called Day of the Locust, while Da Captain Trips have opted for three shorter tracks to represent them on the B-side of the album.

Sendelica's magnum opus here is one that documents the band exploring a rough, raw and dramatic variety of psychedelic space rock. The bass guitar is the central driving element throughout, the rhythms in support are steady and controlled, while an array of guitar riffs, solo runs, while dramatic surging and floating sounds hover on top. At times with a timbre and intensity that borders the unbearable. A massive, overpowering cycle concludes this raw, expressive trip into and possibly through the locust, a challenging but ultimately rewarding run through Sendelica's home turf.

Da Captain Trips, like Sendelica, have an effective bass line as the arguable main engine in their excursions, but unlike Sendelica their take on psychedelic space rock is one best described as more refined. The instruments are more polished throughout, the individual instruments are rarely if ever providing any sharp, dramatic sounds. Improvised sounding material, just like Sendelica, but with the rough edges smoothed out and with a layer or three of polish applied. If Sendelica is Hawkwind's "Doremi Fasol Latido", da Captain Trips is "Astounding Sounds, Amazing Music".

It is interesting to experience two bands so similar yet so unlike on one album. Both play instrumental psychedelic rock with cosmic and space rock elements, both bands comes across as ones not strangers to improvisation, and at least in this case both bands feature compositions where the bass guitar appears to have a key role in maintaining flow momentum. Those who find descriptions of this nature intriguing will most likely find this production to be well worth acquiring.

 The Cromlech Chronicles by SENDELICA album cover Studio Album, 2016
3.96 | 8 ratings

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The Cromlech Chronicles
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Welsh band SENDELICA has been a highly productive entity ever since they appeared on the scene a decade ago or thereabouts. They appear to have risen in stature and popularity in recent years, and a direct consequence of that is that the band have also hit one of their most productive phases in terms of album releases. "The Cromlich Chronicles" was released as a digital and CD production through the band's own label FRG Records in the late spring of 2016, with various vinyl versions released at the same time by UK label Fruits de Mer Records. The latter was, I understand, more or less sold out prior to the official release of this production.

A key reason for a band expanding their scope, reach and popularity will often be that they simply create music that appeals to a broader audience, and that appears to be very much the case for Sendelica these days. I have followed the band for a good few years by now, by way of being sent promo copies of their albums, and personally I think that they are at a creative peak these days in quality even more than quantity. They have found their shape, form and sound, and are comfortably exploring all facets of their repertoire in a compelling and frequently hypnotizing manner.

On this album we're presented to quite a few different sides of the band. The opening, epic length piece, The Cromlech Suite, a more than 20 minutes long journey that opens up as a gliding, elegant affair with careful keyboard textures and dampened ongoing sax soloing, initially accompanied by elegant plucked guitar details and then slowly increasing in pace and intensity, reaching a Hawkwind style bass driven, riff underscored peak, then returning to a second run through more or less the same pathways but now along a different melodic scope. Steady drums and a firm bass the core foundation and driving features throughout.

The B-side of the album has been assembled in a suite on my promo, clocking in at 20 minutes, but it really is three different songs tied together. An initial venture into vintage era heavy psychedelic rock with slight traces of both Hawkwind and, unless I'm much mistaken, trace elements of Black Sabbath here and there too, with a beefy organ also making a solid appearance on this one. The second part is a calmer, mellow affair, kind of like a 70's era psychedelic rock band teaming up with ELO in terms of certain atmospheric elements. And then we're taken on a dark, 10 minute ride at the very end, with twisted guitars and keyboards, booming bass, heavy set drums, some sax details here and there as well unless I'm much mistaken, but a journey first and foremost dominated by the otherworldly sounds from Cyndee Lee Rule's electric violin. The combination of those exotic sounds and the much darker, ongoing backdrop resulting in a magnificent piece of music with one of the more hypnotic ongoing basic themes I have come across in some time.

Those with a passion for instrumental psychedelic rock with distinct space rock orientations can do a lot worse for themselves than seeking out this album. Those with a strong fascination for these type of bands mainly adhering to a vintage-oriented general sound that at times can remind of early Hawkwind will most likely be something of a key audience, alongside those who find the music of this nature to be of general interest.

 Ziggy Stardust by SENDELICA album cover Singles/EPs/Fan Club/Promo, 2016
4.86 | 3 ratings

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Ziggy Stardust
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

5 stars Welsh band SENDELICA appears to have established themselves as something of a household name in psychedelic and progressive rock circles for the last couple of years, with what appears to be a steadily increasing amount of both live performances and releases from this fine band, and among the many productions already released or lined up for a 2016 release from them is this single, Ziggy Stardust, set for an April 2016 release through UK psychedelic rock specialist label Fruits de Mer Records.

One might presume that the band choosing to cover this song isn't altogether accidental, and many would suspect that this project came as a rather swift response to the news of David Bowie's all too sudden passing in January 2016. According to the label this isn't the case however, stating that this song was recorded prior to Bowie's all too soon passing from this world.

Still, as someone not all that invested in the music of Bowie, this single still comes across as just as much a lament as a tribute to the late and great David Robert Jones. Guest vocalist Alice Davidson does add a sensual, and arguably even subtly erotic, dimension to the proceedings with her vocals and vocal effects, with the slower paced bass and drums foundation creating a mournful atmosphere beneath and a vast array of swirling, surging, echoing and cosmic sounds on top comes across as a proper send off and appropriate company for the soul of the departed Bowie on it's journey in the afterlife, whether it's through an outer or inner cosmos or to a heavenly sphere somewhere.

Astralasia's remix version gives a slight emphasis to the cosmic sounds by way of an ongoing staccato synthesizer motif applied to the proceedings, while the original song is a subtly dampened and softened undercurrent beneath. A description that probably sounds goofier and much less enthralling than the end result itself. Then again, when even the record label releasing this single is at a loss for words in how to describe this remix, using mere words to describe this one in an appropriate manner is perhaps just to difficult. If you can imagine seeing a star-sign version of Bowie as Ziggy Stardust walking through space then I suspect you'll be on the right track envisioning that and imagining what the soundtrack to this would be like.

While apparently not planned nor conceived as a tribute to a great artist following his passing, Sendelica's take on Ziggy Stardust does come across as a highly appropriate track to play in such a context. There's a mournful edge to this cover version, bordering on lament at times in terms of mood and atmosphere, combined with a sensual/erotic vocal presence and the psychedelic, cosmic light toned overlays that gives this piece something of an otherworldly general presence. A tribute to a great artist in the game if not the name, to put it that way, and I doubt if too many others will manage to make their tributes to David Bowie in a manner as compelling as this one for some time.

 Anima Mundi by SENDELICA album cover Studio Album, 2015
4.04 | 5 ratings

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Anima Mundi
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Welsh psychedelic band SENDELICA have been around for almost a decade at this point, and have been an increasingly active band as recording and performing artists both as the years have gone by. "Anima Mundi" is their seventh full length studio album, and was self-released at the start of 2015.

One of the primary tendencies to the music of Sendelica, even if not the exclusive one by far, has been to create guitar driven psychedelic and space rock that fairly often has been comparable to a band like Hawkwind, occasionally also borrowing or using some key guitar riffs that has lead to some direct association sin that department being unavoidable. The use of saxophone solo runs and details in their music is another characteristic trait that both have emphasized a certain connection to Hawkwind but also have set them slightly apart from many other bands generally described as being of the space rock variety.

The same tendencies can be found also on this album, but in this case they aren't really the dominating aspects of the production. In fact, rather few of the all instrumental compositions are purebred cuts of that specific nature, but the ones who can be sorted under this category of material are all well developed and compelling ones. As is the case with this album as a whole, as a matter of fact.

The greater majority of the compositions here is of a somewhat different nature however. More careful and atmospheric laden, the use of gliding instrument textures in relatively slow moving sequences where dampened guitar solo and effects motifs, often dampened but distorted in sound, are paired off with keyboards and synthesizer sounds, an ongoing unobtrusive bassline and with the guitar elements alternating with delicate saxophone runs and, one one occasion at least, flute. Often with something more of a psychedelic than space rock sound actually, although various careful details still adds a slight cosmic touch to the proceedings. A fairly common feature in that context are sequencer sounding synthesizer motifs and cold, elegant and careful synthesizer or keyboard textures, that adds a slight association towards a band such as Tangerine Dream to the general expression, and then the more accessible and arguably ambient nature of that band's material first and foremost.

Sendelica has often been a band that, at least for me, have come across as more interesting in a live setting than on their studio albums. A bands that have struggled somewhat in managing to display the same type of energy and compelling features to their material in a recording studio as they have when on stage. On this occasion my impression is that they have succeeded also as a recording unit, creating a strong and compelling studio album that in my view should expand the scope and interest for their particular brand of instrumental progressive psychedelic space rock quite nicely. With a probably key audience those just as fond of their Tangerine Dream as they are of bands like Hawkwind.

 Live From the 7th Psychedelic Network Festival 2014 by SENDELICA album cover Live, 2015
4.04 | 4 ratings

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Live From the 7th Psychedelic Network Festival 2014
Sendelica Psychedelic/Space Rock

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars West Wales-based Sendelica bring plenty of reliable psychedelic/space-rock sounds to their colourful instrumental journeys on the double CD/vinyl set `Live from the 7th Psychedelic Network Festival 2014'. Recorded on Friday the 28th November 2014 at the Cairo Club in Wurxburg, Germany, the group for this performance was comprised of core members Pete Bingham (guitars, electronics), Glenda Pescado (bass), Lee Relfe (sax) and Meurig Griffiths on drums with Lord Armstrong Sealand on theremin and synths.

For those unfamiliar with the sound of the group, think the tough guitar of Hawkwind chugging around mysterious sax strains ala Gong (and maybe just a tiny pinch of Soft Machine jazziness here and there), with a punchier and more streamlined approach than something like another modern space-rock act the Oresund Space Collective. There's a constant driving momentum to their spacey instrumental voyages, a wonderful reinterpretation of a beloved early Pink Floyd classic and even a relentless 47 minute blowout with a super proggy self-indulgent title to keep deep space travellers happy here!

The amusingly titled opener `Spaceman Bubblegum' saunters with a bluesy guitar drowse, synth trickles percolating around plodding chunky bass strolls, fiery drums attacks and hazy sax. `Standing on the Edge' is a Hawkwind-aping two-minute heavy metallic guitar grind, then there's plenty of atmosphere and build throughout the near eighteen minute `Manhole of the Universe', a whirlwind of slow-burn smouldering electric guitar, wavering theremin wisps and swirling synths with brief reggae diversions. The cheekily-titled instrumental reinterpretation of classic Pink Floyd piece `Set the Controls for the Heart of the Buddha' has gorgeous drifting sax permeating dusty Eastern-flavoured bazaar moods, and it's everything a cover version should be - a complete reinvention that sounds like an original piece from the new band performing it, as if it's one of their very own works!

A standout of the set takes up the majority of the second disc, and the forty-seven minute `Master Benjamin Warned Young Albert Not to Step on the Uninsulated Air' (Yes, really, and phew!) is a delirious mess of a vacuum of noise contrasted with more sedate yet brooding passages that shows the band at their most unhinged and exciting. Constantly pounding drums and an up-tempo energy sustain almost the entire length of the piece with echoing guitar chimes and erupting murmuring bass, and there's several spots that are great highlights. An early rush of sax snaps like a furious whiplash, and the section at around the twenty-one minute mark where the synths spiral into crystalline infinity is a real moment. The soothing come-down before a bluesy finale is a nice way to finish, then the band closes the set with ` Magical Ninin' that makes for a belting encore.

Sendelica may not be setting out to reinvent the space-wheel here, but traces of original ideas and their own unique character frequently emerge throughout this addictive 101 minute set, and it especially impresses with constant repeated spins. Despite always staying lively and energetic, the playing rarely resorts to aimless freeform jamming, so it would likely make for a pretty ideal introduction to the group for newcomers. `Live from the 7th Psychedelic Network Festival 2014' is a showcase for a group of talented players offering music of great colour, and psychedelic/space rock followers will find several moments of captivating beauty here.

Four stars.

 Live at Crabstock by SENDELICA album cover Live, 2014
3.96 | 5 ratings

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Live at Crabstock
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Welsh band SENDELICA appeared on the scene as recording artists back in 2007, and since then they have become an increasingly more productive unit with studio and live albums released on a multitude of labels world-wide, in addition to numerous self-released recordings, with twelve albums, EPs and compilations to their name thus far. "Live at Crabstock" is their third live album, released in 2014.

With a steadily increasing number of recordings and live shows to its credit, Sendelica is becoming quite the solid name for those with an interest in vintage instrumental space rock. Their charming habit of incorporating familiar-sounding details into their songs and their tendency to have their best moments live on stage is a combination that makes their live albums arguably more interesting than their studio recordings. In this case it's an honest live album, not a perfect specimen in terms of mix or balance, but an honest representation of a quality live band using their guitars, theremin, synthesizer and saxophone to create compelling instrumental space rock. A production that merits an inspection if that sounds like a compelling description to you.

 The Fabled Voyages of the Sendelicas by SENDELICA album cover Boxset/Compilation, 2014
3.96 | 5 ratings

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The Fabled Voyages of the Sendelicas
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Welsh band SENDELICA have been an active recording and live entity for close to a decade at this point, usually with multiple releases to their name each and every year. They are closing in on two dozen releases in total at this point, if I have managed to keep track of everything, EPs and singles included. In addition they have contributes to numerous various artist compilations. "The Fabled Voyages of the Sendelicans" is a compilation of selected parts of their older material that was released on albums now out of print.

For those not familiar with Sendelica, an easy description of their music is that they create instrumental psychedelic progressive rock, and fairly often of the kind that is usually described as space rock. They aren't among the bands of this kind that relies heavily on keyboards and electronic effects however, bass, guitar and drum tend to be their primary chosen instruments.

All space cadets will smile happily when encountering the opening track on this album, as the key element on Standing on the Edge is one with a more than fleeting resemblance to classic Hawkwind. Brainstorm, unless I'm much mistaken. A slower paced, beefier riff is explored by Sendelica here, going along on a similar but not identical pattern as the Hawkwind riff I think I recall, and Sendelica's is rather more dominant too. Still, a short and concise effort that should please any fans of classic Hawkwind. The bass line in the following Manhole of the Universe is also one that I find familiar sounding, and again in a Hawkwind kind of way, but otherwise this song is markedly different with it's almost shrill, psych-dripping solo over pumping bass and firm rhythms theme that bookends a creation that shifts to a more cosmic oriented and effects laden expression as we visit the place in the universe this compositions have been named after.

Zhyly Byly isn't among Sendelica's most impressive creations, but I'll admit that this one has grown on me since I encountered it first time around a few years back. A distinct case of something you either enjoy or will be indifferent to, with elongated guitar solo runs as a key feature, while the following Screaming and Streaming Into the Night documents Sendelica in a more delicate mood with saxophone soloing, more liberal use of effects and generally a less intense guitar presence all around. Carningli (Hill of Angels) is another piece documenting a rather different sounding band, this one more of an atmospheric laden creation with stronger ties to ambient music.

Concluding track Spaceman Bubblegum is, at least for me, the least interesting track on this album. For me this one gets just a tad too repetitive in general. There are plenty of fine moments on this journey, but a few of the places visited does outstay their welcome as far as I'm concerned. This is obviously a matter of taste, and I know plenty of space cadets and otherworldly travelers that will appreciate the qualities of this track, even if I'm not quite as intrigued myself. Not that this is a bad track as such, in terms of my own experience this is pleasant listening all along rather than music that manage to captivate me on a superficial or a deeper level.

All in all this is a fine selection of material of the past, and these songs are a good collective match as well. Each of them documents a slightly different side of the band, they work well in the order they have been assembled, and each of them comes with their own set of strengths and dynamics. If Sendelica is a band you're curious about, this is a compilation that will give you a generally fair impression about what this band is all about. Recommended to space cadets and otherworldly travelers in general, and in particular to those amongst them that prefers their musical inspirations to be of an instrumental, rock based nature.

 The Megaliths: The Movie Soundtracks Volume 1 and 2 by SENDELICA album cover Boxset/Compilation, 2013
3.00 | 1 ratings

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The Megaliths: The Movie Soundtracks Volume 1 and 2
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars Welsh band SENDELICA have been around for close to a decade at this point, a band more renowned in psychedelic rock circles than in their native Wales from what I understand. They are an active live and recording unit, with close to a dozen full length productions to their name as of 2014. "The Megaliths" is a collection of material recorded between 2008 and 2012, and was released in December 2013.

This collection of material is a fairly mammoth one. It is sold either has a double CD clocking in at 2 hours or as a limited 3 CD set (now sold out) with an additional half hour of material. This latter version is also the one sold digitally. As the second part of the album title indicates this is a collection of material created as soundtracks, and as such this production isn't readily comparable to the other releases by this band as far as overall style is concerned.

Soundtrack music, real soundtrack music that is, is something radically different from other types of music, at least in my book. This is music that generally should have more of a subservient nature to them, enhancing an experience that revolves around images. If it is a documentary or a cinema movie, the role of the music is to enhance whatever is happening on screen without doing it in a manner that takes away the focus from the story told by the images. In reality the case isn't quite as black and white of course, as a long line of hit songs given plenty of space in cinema features over the years have documented, but in general that is the ideal. One of the best movie and music experiences of this kind I can recall is The Sixth Sense and how the soundtrack truly enhanced the overall experience on that occasion whilst still staying mostly unobtrusive.

The interesting question is how music of this kind manage to engage outside of the movie it has been made for. Does it work also in it's own right? In some cases soundtrack music can be quite the tasteful experience as standalone entities, the main theme from the classic sci-fi movie Blade Runner comes to mind, in other cases the impressions aren't quite as favorable. Some of this obviously comes down to individual taste obviously, as is the case with music in general. On this collection of material my experience is that we're provided with most varieties here. Some of the material is strong, consistent and have a distinct presence that makes them enjoyable experiences in their own right, others comes across as music with more of a marginal scope.

With one exception the compositions here all revolve around fairly mellow landscapes, with limited drums or percussion effects involved at best. Plucked guitars, careful cosmic effects and careful and deliberate guitar soloing are the main starts of the show, with the saxophone given some runs here and there as the main additional effect. Voice effects enhance some of these dampened cosmic journeys, but never in a dramatic manner. The word unobtrusive fits the greater majority of the material, and words like frail and delicate describe the greater majority of the material explored.

Trillian Eight is probably the track here that for me represents the least interesting scope of the material best. I have no doubts at all that it functioned brilliantly as a soundtrack feature, but the loose jam aspect of this creation along with it's overall unobtrusive nature didn't make the cut for me as far as being an interesting number in it's own right. This is the kind of track that to my mind cries out for the images it was made to support. While the song does intensify in sections when it reach the final third it is too little and too late for my personal taste in music at that point. That we're dealing with a track that is just a wee bit shy of the half hour mark is probably a detail that warrants a mention here I guess.

It's not that Sendelica is a band that are unable to create interesting material that stretch on a bit, as well documented by the Pink Floyd meets Hawkwind and then Hawkwind meets Robin Trower opening twenty or so minutes of the concluding half hour marathon When the Falling Angels Meet the Rising Apes, but Sendelica sounds much better when they are able to do so in the more dramatic, intense and audible manner of this creation and not quite as interesting when they revolve around a more unobtrusive and ambient oriented foundation.

To Create Is Divine is one of the highlights here, the distinct bassline used throughout this piece and the clever guitar details giving this song a stringer nerve and spirit than many of the other songs here, and the subtly more Hawkwind sounding I Don't Wanna Be Your Satori another creation that managed to elevate itself in my ears due to more nerve, more contrast an a character that generally shies away somewhat from being mainly unobtrusive.

This doesn't make "The Megaliths" a poor production though, as the various soundscapes are all excellently assembled, quite a few of them featuring delicate instrument details on top of what sounds like more or less loosely improvised jams that have been mixed down to have a distant and subservient place in the arrangements. It's more a case of material with more of a marginal scope and reach, at least in my opinion. If you enjoy ambient material of the psychedelic and cosmic flavored kind and really enjoy immersing yourself in the mood and feel of such material without being distracted by dramatic impulses then this production is one you should take note of, and much the same can be said if you tend to enjoy careful, delicate material of the psychedelic and cosmic kind.

 The Kaleidoscopic Kat and It's Autoscopic Ego by SENDELICA album cover Studio Album, 2013
3.14 | 3 ratings

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The Kaleidoscopic Kat and It's Autoscopic Ego
Sendelica Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

3 stars Welsh band SENDELICA have released a steady stream of productions since their debut album "Spaceman Bubblegum And Other Weird Tales From The Mercury Mind" saw the light of day in 2007, on a number of different labels in different countries too. "The Kaleidoscopic Kat and It's Autoscopic Ego" is their most recent studio production, and was digitally released in the summer of 2013. A CD edition was ready at just about the same time, and a vinyl edition appeared a few months later.

It would appear that this is a production where Sendelica does give their nods to some of the artists they enjoy and that possibly might be referenced as creative inspirations. I'm fairly certain that I should be able to decode a few more than I have done. Some of the tracks are fairly self explaining in terms of where the references go though: Set the Controls for the Heart of the Buddha, 21st Century Autoscopic Ego Man and It's the Neu!! Kosmiche Disko is a trio of tracks that doesn't really need any detailed information as far what songs and artists are referenced I think.

From what I can understand these aren't cover versions in any usual manner however, but more like constructions where fleeting instances of the artist and song referenced makes occasional appearances. With the possibility that quite a lot of the material are variations on the referenced source material just as much as inspired by it and made and performed in the same spirit. Be that as it may be, the important bit is that this isn't, at least as I experience this production and these songs, even close to being an album with three or more cover versions of well known material. Homages and material that acknowledge the influential nature of certain bands and specific compositions indeed, but done in a tasteful and creative manner.

As for the music itself in a more specific manner, Sendelica continue doing what they do best. Instrumental psychedelic rock is the name of the game here, with vintage fuzz guitars complete with distortions, effects and reverbs, with psych-dripping soloing aplenty, backed by a steady and secure rhythm section and with plenty of keyboards supplying melodic textures, effects and cosmic details, with Mellotron washes and saxophone soloing further enriching the arrangements. Their latest production is for me one fairly similar to their previous ones on some levels too: Their excursions tend to be pleasant rather than truly engaging to my mind, material that will hit right home with a certain crowd where I'm one of the guys placed in the outer perimeter. Still, Sendelica tend to have a few creations at hand that also gives me a slight case of goosebumps, in a positive meaning of the word, and on this disc Something in a Grain of Sand and Set the Controls for the Heart of the Buddha are the items I'd highlight from a strictly personal point of view. The former a cyclic affair with a compelling synth motif at the start and finish, briefly taken over by the bass guitar in the midsection, the latter referencing Pink Floyd's classic and sporting a fine bass and drums foundation with smooth, gliding keyboard textures on top and, unless I'm much mistaken, both plucked delicate guitar details and treated fuzz textures by way of the same instrument. With a few more bells and whistles applied to both of these items obviously, but with the details described as some of the more dominant aspects of these tracks.

All in all a fine album that will come across as a pleasant overall experience to a good deal of people. And for a select crowd this production will be a real treat, presumably those who tend to have a soft spot for instrumental psychedelic rock of the kind that employs fuzz guitars and cosmic inspired effects- Furthermore I'd guess that many krautrock fans would describe "The Kaleidoscopic Kat and it's Autoscopic Ego" as a production well worth spending some time and money on too.

Thanks to NotAProghead for the artist addition.

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