Magical Ninin - Sendelica - Live At Kozfest July 2012 (CD)
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We've got our freedom, we can make trade agreements with other countries outside Europe and we can employ people from all around the world. We're a British company - I've put a lot into this country. You can leave your e-mail and we will let you know when the broadcast of the station will be online again: Or listen to the Magical Ninin - Sendelica - Live At Kozfest July 2012 (CD) Colombia stations. Sting Shape of My Heart. 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 Magical Ninin - Sendelica - Live At Kozfest July 2012 (CD) 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 Magical Ninin - Sendelica - Live At Kozfest July 2012 (CD) smoothed out and with a layer or three of polish applied. 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. 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, Magical Ninin - Sendelica - Live At Kozfest July 2012 (CD) 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 Magical Ninin - Sendelica - Live At Kozfest July 2012 (CD) 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. If you do not allow these cookies then some or all of these services may not function properly. These cookies may be set through our site by our advertising partners. They may be used by those companies to build a profile of your interests and show you relevant adverts on other sites.
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