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21 Nov 2017

Sendelica "Lilacs Out Of The Deadlands" 2017 UK Psych Space Rock

Sendelica  "Lilacs Out Of The Deadlands" 2017 UK Psych Space Rock 2 LP`s  recommended...!
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Limited Edition of 150, hand numbered. Black Vinyl

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Based in West Wales, UK. Instrumental psyche-space-rock band whose work blends early psychedelic outings, occasional heavy riffing, and electronic ambient musings. The core band in UK is currently: Pete Bingham on guitars & electronics, Glenda Pescado on bass, Meurig Griffiths on drums, Lee Relfe on sax and Lord Armstrong Sealand on theremin & synths…

Formed over 10 years ago, Sendelica have released over a dozen albums and regularly enrapture large gatherings around Europe with their panoramic blend of cosmic space rock, psychedelic prog and Krautrock grooves…

April 15th see the release of Sendelica’s brand new studio double album titled “Lilacs out of the Deadlands” on German label Sunhair Music. 
The album is very much a yin/yang kind of production and was recorded over two sessions at MWNCI studios in the summers of 2015 and 2016. 
The chilled out Yin album features guest musicians Cheryl Beer (percussion, vocals), Kate Riaz (cello), Jack Jackson (percussion) and Roger Moran (keyboards). The meatier Yang album features double drummers courtesy of Gregory Curvey and Meurig Griffiths along with special guests Jim Licka (Mellotron) and Richard Armstrong Sealand (theremin, keyboards)…

The 2017 full-length by the highly rated Welsh psych rockers! Edition of 300 CD’s, presented in a jewelcase and including an 8-page booklet….

UK space groovers Sendelica have given word of the arrival of a new full-length, Lilacs out of the Deadlands, set for issue just in time for them to embark on their upcoming UK and European tour, the Italian segment of which is presented by Vincebus Eruptum Recordings. That label wing of the respected print ‘zine and certified cultural association has stood behind several of Sendelica‘s outings, including 2016’s I’ll Walk with the Stars for You, which you can hear below. I’m not sure if they’ll do a CD or vinyl release for Lilacs out of the Deadlands, but it seems more likely than not a physical pressing will surface eventually, one way or another. not much word about the album for the time being other than it exists and has a cover. That says “digital first, everything else after,” pretty clearly to me, though of course my assumptions have been wrong before….The Obelisk……

What strange enchantment be this that comes whispering sorcery in our ear. I think you might want to tie yourself to your listening chair for this. Never known for doing things in half measures, Sendelica have these last ten years earned themselves deserved acclaim and an enviable repute among their peers, members of the Fruits de Mer top table, they have forged a formidable back catalogue that has taken listeners on journey’s beyond the cosmic capability of realism, their sounds morphing and slip streaming between all out long-haired bearded prog to eye glazed hyper psych, between here, there and somewhere their symphonic prowess abled with the ability to at once bliss kiss, bong out or blister with a thunderous stoned white out. It’s due to this that words served up here when reviewing sets previously that we’ve been occasioned to refer to them as the Welsh version of Acid Mothers. 

Described by its authors as a ‘real yin / yang album recorded over two sessions back in the summers of 2015 and 2016’, ‘lilacs out of the deadlands’ is due to land in early April, and we say land very deliberately and with good reason for this is a colossal release. With several guest members on board for the ride, Sendelica push the ante to the max utilising their full sonic spectrum to its peak potential. As you might so far surmise, ‘lilacs out of the deadlands’ is a set that houses two unique and separate sonic personalities, the first featuring two extended instrumental suites both clocking in at a mammoth mind arranging 20 plus minutes apiece. Opening to the demurring dream drift that is the bonged out and beautiful ‘Occhiolism’, I don’t mind saying that I’d be surprised if you don’t emerge from this thinking you been visited upon by some celestial occurrence. High grade out there transcendentalism, both spiritual, soothing and re-invigorating, seriously they need to bottle this stuff, absolutely trippy all oozed in dissipating lunar toned flotillas that coalesce to smother you in warm life affirming radiance, amid the vapour kisses the subtle spray of middle eastern tonalities flicker and flutter in the gaseous ghost folk nothingness, file under audionic astral planing. Those finding their way back safely and suitably refreshed are ushered in to the stately and statuesque domain of ‘onism’ which reference wise turns upon an sonic axis much reminiscent of those encountered on early outings by the master musicians of the bukkake, as though drawing its energy from natures own elements, this snake winding dust cloud hollows hypnotically its atmospheric charge, pressed with poise and an irrefutable awareness for wide-screen delivery beneath its hazy shimmering of Floydian spell craft lurks amid the molten shift of the melodic plates hints of Ariel Kalma and Aidan Baker swimming beneath the surface tides. 

Better don your tin hats for the second part of the set takes in tracks 3 – 7 for what is, shall we agree to say, the more frenzied side of the listening equation with the aptly titled parting shot the head fracturing 10 minute stylus sizzler that is ‘dancing to dante’s inferno’ – a floor bouncing stone grooved cosmic mirror ball trip wired amid blistered slabs of sun scorched psychedelia and hip wiggling smoking cool riff snaking slinkiness all set to a thunderously throbbing motorik underpin. Elsewhere the wigged out ‘kenopsia’ greets with a squalling riff shriek before tripping out on some cosmic drone axis which on reflection tailgates to the gravitational pull of the Heads before the impishly named ‘father todd and his official Faustian bargaining kit’ drops it’s wig flipped ear worms to ferment and decorate your head space in all manner of freakily grizzled kaleidoscopic swirls – by our reckoning sounding not a million miles in terms of whacked out wooziness as the Wizards of Twiddly aided and abetted by the mighty Kevin Ayers. Those finding their way out of that might well think they’ve jumped from the proverbial pan and in to the fire when the infectious Lurie-esque melodic misfit that is the ‘not the time for salads’ merrily mooches its way into your mind fraying affection kissed with an insidiously addictive riff corkscrew and the words beardy boogie tattooed to its hide, all of which I’m afraid to say leaves ‘staring at the feinting goats’ to rally a truly humungous white hot all out freak storm and into the bargain stripping you bare of your faculties and focus as you stand amid the carnage this kraut gouged caner has laid waste to with jaws agape mumbling ‘WTF was that’. 

In conclusion, there’s a point when a band goes beyond from being mere players to turning a corner towards establishing themselves far and apart from the chasing pack, ‘lilacs out of the deadlands’ marks that point. ‘lilacs out of the deadlands’ is released via Sunhair in the second week of April, available on all formats, the double disc odyssey will be available in a variation of limited coloured vinyl editions. ……psyence…the sunday experience…

Pretty productive, they are the guys from Sendelica. In the last 5 years, Wales’ Space Neopsychedelic stoner rockers have apparently released around 20 albums. These are conditions like the legendary Acid Mothers Temple, which usually stays in stylistically similar musical realms. As with the productions of the Japanese, the Sendelica albums are mostly released in a rather small edition of live recordings. And like the Temple, stylistically and compositionally, there are probably no worlds between the individual panes. 

Recently, Sendelica have released another album from the Würzburg label Sunhair Music, which was recorded in a studio sometime in 2016. Two quite different parts can be found on the CD (the whole thing is / were also available as a double LP), recorded with different instrumentation, and with the subtitles “Yin Session” (the first two tracks) and “Yang Session”. (tracks 3-7). 

“Onism” and “Occhiolism” bobble very relaxed, echoing and airy, consisting mainly of floating guitar and electronic sounds, some percussion, sustained sax and cello sounds and ethereal female vocals. Too much does not happen there, but the music slides quite voluminous and hypnotic, cosmic-psychedelic and spherical-mysterious. However, both numbers are clearly too long rolled, and after some time, it is difficult to suppress a mental yawn. But as spherically stimulating background music this is quite useful. 

With “Kenopsia” changes the character of the music. Yelling electric guitars are working their way forward, the key sounds are widening, the sax is more aggressive and the bass and drums provide driving, leisurely rock patterns. A fairly typical Stoner retrospacerock now comes from the boxes, which reminds in its light mushiness and booming rocking power to various numbers of Hawkwind (even the expressive sax). However, the occasional howling of the theremin provides for a certain own touch. Unfortunately, the tonal concept about the five numbers hardly changes, so that the music gets boring quickly. The range of variation of Spacerock was never very big, but here is really little change. In addition, the band rocks quite uniformly, without much change of tempo, and routinely through the pieces. With the two long numbers at the end of the album, the whole thing even starts to get annoying. 

Maybe it would have been better to mix the music of the two sessions, so neither of them can really convince or pack. All in all, “Lilac’s Out Of The Deadlands” is a rather disappointing contribution to the genre, which in recent years does not necessarily complain about a lack of productions. Among them, however, “Lilac’s Out Of The Deadlands” has to settle for a place in the lower midfield. The disc sounds a bit stale and stale. We have already heard such sounds (too much) so often. But if you really need more of this kind of music, you should better reach for one of the last slices of the Japanese mentioned in the beginning……..Achim Breiling…

‘Two themed platters from the band that never stops releasing new music… 'Yin,’ on the one disc, extols the gentler side of Sendelica, and feels like an early Orb album without the narcolepsy; two twenty minute tracks that build, drift, trail and whisper, and reduce you to a puddle on the mat behind Cheryl Beer’s spectral vocals. And 'Yang,’ which draws out their louder urges and sounds an awful lot like - well, classic Sendelica, really. 
'Kenopsia’ is the first of three shorter (four to five minute) excursions into those places that the Welsh band know best, sax led and solidly mantric; but it’s the delightfully titled 'Staring at Fainting Goats’ that pushes its way most abruptly into the realm of Sendelica’s all-time classics, ten minutes (that should be more) aboard a spaceship being piloted into the sun by the barbarian hordes. And then there’s 'Dancing to Dante’s Inferno,’ whose title alone tells you what to expect, and which doesn’t disappoint. Especially as that has to be the ghost of Hawkwind’s 'Master of the Universe’ rattling around the opening minutes. 
Brilliant. As always.’..Goldime magazine…

April the 14th see the release of our brand new studio double album titled ‚lilacs out of the deadlands‘ on german label sunhair records. A real yin /yang album recorded over two sessions at mwnci studios in the summers of 2015 and 2016. The chilled out ‚yin‘ album features guest musicians cheryl beer (ethnic percussion & vocals) / kate riaz (cello) / jack jackson (percussion) / roger morgan (keyboards). The meatier ‚yang‘ album features double drummers courtesy of gregory curvey and meurig griffiths along with special guest jim licka (mellotron) and richard armstrong-sealand (theremin & keys). …

Tracklist 2LP: 
A: Occhiolism 21:04 

B: Onism 22:04 

Kenopsia 05:22 
Father Todd And His Official Faustian Bargaining Kit 05:46 
Not The Time For Salads 04:52 

Staring At The Fainting Goats 11:05 
Dancing Too Dantes Inferno 10:15 

Mark McDowell and Friends "Dark Weave“ released June 15, 2017 UK Psych Folk Rock,Acid Folk

Mark McDowell and Friends  "Dark Weave“ released June 15, 2017  UK Psych Folk Rock,Acid Folk 
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Dark Weave was recorded in Bristol, San Francisco and Presteigne Wales. Across eleven tracks there’s jangly garage folk, spooked out ballads & hypnotic drone based improvisations. The arrangements developed at weekly get-togethers achieve a fluid mix as vocals and acoustics mesh with analogue synths and Indian strings…

Mark McDowells recordings and live work take inspiration from the early seventies folk scene as well as a pioneering experimental approach

Mark McDowell Vocals Guitar Keyboards Percussion 
Jim Dyke Bass 
David Gould Bouzouki Dilruba Stick Dulcimer 
Pete Westaway Synthesizer 
John Hymas Strings 
Hannah Moriah Vocals 
Recorded in Bristol, San Francisco and Presteigne Wales. 
Many Thanks Sean M. Lennon Engineer Studio Trilogy San Francisco. 
Produced by Mark McDowell


Light Up The Town 
Message Sent 
Light Of Love 
Spirit Of Love 
Walking Back To You 
Look In The Dust  
Service Of Owls 
Dark Weave 

The Ectomorph "The Furious Sleeper" 1991 UK Psych Garage Rock

The Ectomorph  "The Furious Sleeper" 1991 UK Psych Garage  Rock
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 The Ectomorph was a short-lived psychedelic garage rock band from the UK, released only one album, The Furious Sleeper in 1991. Members: Bernadette Keeffe (Skin Side Out, The Mandible Rumpus), Catherine O'Sullivan (Sally Patience), Michael McDonough-Jones (Sally Patience, The Big FIbbers), Angus Maclean (Richard Strange), Mark Rowlatt (Metabolist, Shock Headed Peters, Camera 3)…….

Good Words with Woronzow label in the UK with two giggins of vocals, A Question of Temperature and The Garden of Earthly Delights, a bookcase and a violoncello.. Remembered their own co-star The Bevis Frond and The Flyte Reaction. In the 1993 edition, add three last three

Bass, Guitar – Angus Maclean 
Drums – Mark Rowlatt 
Guitar, Keyboards – Michael McDonough-Jones 
Lead Vocals, Violin – Bernadette Keeffe 
Vocals, Keyboards – Catherine O'Sullivan

Show Me No Mercy 3:25 
Fields Of Agincourt 3:00 
The Man Who Dreamt Himself 4:30 
Walk With Fire 3:30 
Sherlock’s Brain 4:30 
The Illuminated Lung 5:45 
A Question Of Temperature 3:15 
The Face In Murder’s Mirror 3:25 
Dark Breakfeast 3:55 
With The Drink 3:30 

Weird Owl "Bubblegum Brainwaves" 2017 US Psych Rock

Weird Owl  "Bubblegum Brainwaves"  2017 US Psych Rock 
Weird Owl “War” on vimeo

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Since 2004, Brooklyn psych-rock band, Weird Owl, have released a slew of albums and toured with Brian Jonestown Massacre. Following 2016’s Intersteller Skeletal, their sixth full-length album, Bubblegum Brainwaves, continues the band’s synth-heavy twilight of spacey psychedelic rock. The album kicks off with the massive and potent soundscape of “Invisibility Cloak.” Trevor Tyrrell’s reverb-laden vocals bask in a large wall of sound- propelled by Jon Rudd’s fuzzy guitar chops and Sean Reynolds’ atmospheric drums. Kenneth Cook and John Cassidy provide a solid bass and synth backing. 

The highlight of Bubblegum Brainwaves encompasses a spectrum of melancholy clashing with shoegazy rhythm sections and synth-pop hooks; as heard on “You (Sometimes Not You)” and “Black Never White.” Lead single, “War,” embodies a menacing jumble of brooding melodies- making it a standout track. The song’s architecture is propelled by hard-hitting guitar riffage and stadium-esq vocals. 

British singer/songwriter and poet, Genesis P-Orridge, makes an appearance on “Bartholomew Iris,” an abstract spoken word based on the biblical character. The song explores death and afterlife through P-Orridge’s intense poetry, “Bartholomew learned that you can create the eternity you deserve / It’s all in the mind.” 

Weird Owl have been around for over a decade, and unless you’re a staunch follower of psych music, they may seem like they just landed on the planet. But the opportunity to work with Psychic TV guitarist, Jeff Berner, on the production of Bubblegum Brainwaves may propell the band forward….by….by Dillon Price…

To their credit, Weird Owl do seem to take particular delight in living up to their name. Not so much the owl part, I suppose, but definitely the weird. The Brooklynite four-piece are a decade out from the release of their first EP, Nuclear Psychology, and after three full-lengths in 2008’s Ever the Silver Cord be Loosed, 2011’s Build Your Beast a Fire (discussed here) and 2015’s Interstellar Skeletal, as well as the Healing EP in 2013 that was their introduction through A Recordings, the imprint helmed by Anton Newcombe of Brian Jonestown Massacre, they’ve become the kind of band for whom predictions sonic or otherwise are largely irrelevant. Thinking you know what you’re going to get from a Weird Owl release is an act of self-delusion.

It’s probably going to be psychedelic one way or another, fair enough, but as to the actual shape and tone that will take, that’s a much more open prospect, and it’s one the band plays to with the bright, crisp melodies of their fourth LP, Bubblegum Brainwaves. At times brazenly poppy and elsewhere dug into a sense of exploration that feels born of space rocking impulses, it’s a record of varied sensibilities that, by the time it’s into its second side, turns even its own methods on their head in favor of heading somewhere else. To wit, that’s the eight-minute, spoken-word-topped “Bartholomew Iris,” on which Genesis Breyer P’Orridge of Psychic TV and Throbbing Gristle steps in to recite a sci-fi narrative about a protagonist who chooses the means of his own death. To say the least, it’s a distinct moment of departure.

And not necessarily the first on the album, which opens its easily-manageable nine-track/41-minute run with the proverbial ‘Drink Me’ potion in the form of a keyboard line, drum intro and fuzzy shuffle met with echoing vocals on “Invisibility Cloak.” With “You (Sometimes Not You)” and “Black Never White” immediately following, “Invisibility Cloak” is the first part of a three-song launch salvo from the lineup of guitarist/vocalist Trevor Tyrrell, bassist/keyboardist John Cassidy, keyboardist Dave Nugent and drummer Sean Reynolds that boasts some of Bubblegum Brainwaves‘ most standout hooks, but also three strikingly different takes. Immediately, Weird Owl set a broad sonic context for themselves and flow between the high-energy cosmic soak of the opener, into the key-focused dreamgaze synth-pop of “You (Sometimes Not You)” — the otherworldliness of which comes through all the more thanks to its lyrics — and the urbane post-punk swagger and unabashed fun of “Black Never White.”

Taken as a set, these songs don’t top 13 minutes, and side A will continue to unfurl a diverse personality in the acoustic-led “Such a Myth” before resolving itself in the sweet, semi-Beatlesian melody of “The Lizard and the Owl,” but the cue to the listener to adjust their expectations to be as broad as possible is a hard one to miss, and as skillfully drawn together as the pieces are via their underlying structures and catchiness, it makes the shifting character of Bubblegum Brainwaves more fluid and accessible, allowing for the move into the politically-minded cynicism and comment on appropriation in “Such a Myth” — lyrics like, “Oh it’s my war too/Oh it’s my body too,” seeming to offer a general take on a social media-driven propensity for ego-tizing larger issues — to happen without any hiccup. Keyboards/organ do some of that tie-in work as well, and though he’s never particularly showy as a vocalist, Tyrrell‘s voice provides a steady and human presence across side A that only helps to further guide the listener through what might otherwise be a bumpier course. As it is, tracks are memorable enough in themselves so as not to simply be a hypnotic wash, but still satisfyingly lysergic in their tone and atmosphere. As “The Lizard and the Owl” rounds out the first half of Bubblegum Brainwaves with a subtle apocryphal feel in its storytelling, its linear build underscores the grace with which Weird Owl have been delivering their material all along. It is natural and warm, and so clearly it’s time for the LP to make another turn.
Side B brings four tracks in “War,” the aforementioned “Bartholomew Iris,” “Many Things I Saw in the Coffin” and closer “Tired Old Sun,” and like the material on the album’s first half, each one has its own take, working further to the band’s accomplishment and that of producer Jeff Berner (also guitar in Psychic TV) at Galuminum Foil Studios in constructing Bubblegum Brainwaves with such overarching ethereality of spirit. The feel, however, is darker. “War” is more active and doesn’t quite mirror the push of “Invisibility Cloak” at the start of the record, but is definitely working off some of the same intent, but the low end feels denser and the vocals are rawer and more forward. These things are relative, of course, but while “War” has a hook still very much working in its favor, the titular subject — whether metaphor or literal — represents a marked shift from the bulk of side A’s brightness. That will continue on “Bartholomew Iris,” which, as the band steps back to allow P’Orridge‘s audiobook-style narrative recitation, is the unquestionable odd-cut-out in the tracklisting.

Purposefully so. The only song over five minutes long, it’s meant to leave standard songwriting behind, and while I don’t know the origin of the plot being told — that is, if it’s by Tyrrell, P’Orridge, or sourced elsewhere — the elements of genre fiction and the narrative itself are compelling. Not to be understated, however, is the effect “Bartholomew Iris” has on the tone of Bubblegum Brainwaves. It is such a moment of arrival that it bleeds into the songs before as well as after, and while “Many Things I Saw in the Coffin,” with its folkish acoustic strum, synth flourish, and simple punctuating drums, has more in common with “Such a Myth” early as it moves toward its molten post-midpoint wash, there remains the lingering presence of “Bartholomew Iris” all the while. And when it comes around, “Tired Old Sun” — in which the sun itself seems to resign itself to fatigue in the way one might reading the news every day — works to reengage the dreaminess of the album’s earlier going, but is nonetheless sadder in sound as well as theme. Even for laid back, drift-prone psychedelic progressive rockers, it would seem, the times can feel weighing.

That’s not to say Bubblegum Brainwaves doesn’t offer plenty of float. It does. And I won’t discount the joy with which “right!” is tossed into “Black Never White” to playfully affirm the lines, “We seek the truth, we speak light/And you know we do it every night/Right?” either, but there’s a melancholy in Weird Owl circa 2017 as well, and that turns out to be as much a part of their rendering here as the momentum launched by “Invisibility Cloak” or the depth of the arrangement mounted in “Many Things I Saw in the Coffin.” Fortunately, this variable mood is complemented by likewise malleability of songcraft, and Weird Owl no more lose themselves in discourse than they do instrumentally. This speaks to the maturity taken hold in their approach over their years together, but more important, it makes Bubblegum Brainwaves a work of depth that can feel light or weighted depending on how its audience wants to interact with it. And that it’s open to that interaction, weird, unpredictable and swerving as it is, means there’s still some hope in there as well…..the obelisk…………

Since their formation in 2004, the Brooklyn-based psych rock/stoner rock Weird Owl, comprised of Trevor Tyrrell (guitar, vocals), Jon Rudd (guitar), Sean Reynolds (drums), Kenneth Cook (bass, keys, synths, backing vocals) and John Cassidy (keys, synths), have developed a reputation for a sound that’s been compared to Deep Purple, Hawkwind, Neil Young, Pink Floyd and Spirit, for releasing a steady stream of new music, which they’ve supported through tours of the US and UK; in fact, heir first two albums 2009’s Ever the Silver Cord Be Loosed and 2011’s Build Your Beast a Fire were self-released with later material catching the attention of The Brian Jonestown Massacre‘s Anton Newcombe, who released the band’s 2013 EP Healing and 2015’s Interstellar Skeletal through his A Recordings, Ltd.

The band’s sixth release this decade, Bubblegum Brainwaves is slated for an October 13, 2017 release, and the album thematically touches upon cognitive dissonance, darkness, uncertainty, war, a world crumbling towards a dysfunctional dystopia — and naturally is informed by the currently political climate while reportedly finding the band pushing their sound towards new directions. And as you’ll hear on “You (Sometimes Not You),” the first single off the band’s forthcoming album, the members of Weird Owl pair shimmering synths with a soaring hook and a catchy, Summer of Love meets retro-futuristic synth pop melody…………..

The new record from Weird Owl is a a head-trip, really. Produced by Psychic TV guitarist Jeff Berner and with a guest appearance by Genesis P-Orridge, Bubblegum Brainwaves is the band’s sixth release in recent years and it’s a lot of fun.

Numbers like “Invisibility Cloak” bristle with a nice blend of psych-rock and New Wave, while “Black Never White” offers up sleeker textures. If “Such A Myth” is downright lovely, that moment of calm on the record is offset by the blistering “War” which is fuzzier and rougher around the edges. If some of this is a little loose, like the epic-length “Bartholomew Iris”, far more successful is “Tired Old Sun” which closes the record on a nice melange of the many elements at play in the output of Weird Owl……

Weird Owl is: 
John Cassidy 
J. David Nugent 
Sean Reynolds 
Trevor Tyrrell

1 Invisibility Cloak 
2 You (Sometimes Not You) 
3 Black Never White 
4 Such A Myth 
5 War 
6 Bartholomew Iris 
Featuring – Genesis Breyer P-Orridge 
7 Many Things I Saw In The Coffin 
8 Tired Old Sun


johnkatsmc5, welcome music..





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