Cumbias Chichadélicas - Peruvian Psychedelic Chicha

By Todd Leiter-Weintraub (Hop On Pop)

Originating in the coastal region of Columbia, Cumbia music spread across the South American continent, and even up into Mexico, mutating and changing with each mile. It’s a music that was made for dancing… with a brisk 2/4 time signature all but forcing the listener to move. And, sometime in the late 60s in Peru, Cumbia mutated into Chicha: the psychedelic cousin of Cumbia that can be heard in this collection.

Although not overtly psychedelic, Peruvian Chica can change your headspace very quickly. It’s all rock instrumentation, with a strong emphasis on guitars, and the occasional waves of echo and wah-wah giving the music its psych flavor.

Sure, we do hear the occasional horn section like you might expect to hear in some Mexican mariachi bands, or some wood block percussion, or even some slithery tango rhythms. But, even when making its deepest ingresses into more-traditional South American sounds, the music stays psychedelic. Just listen to the heavily processed lead banjo on “Mi Morena Rebekde” by Eusebio y Su Banjo for a perfect example of a how the two traditions meld into one; it brings to the music a sound that is simultaneously of both traditions, and of neither.

If you are one who is turned off by foreign-language singing, there is a little bit of that here, for sure. And you should know that. However, the collection is primarily instrumental. And, with the recordings re-mastered from the original tapes, the instruments all sound great: guitars leap out, percussion pops, and the stereo separation makes for excellent headphone listening.

While, sadly, this reviewer was not able to get his hands on an actual physical copy of the deluxe vinyl reissue*, I do have access to PDF versions of the liner notes and packaging, and I can state with certainty that there is a wealth of information to read, and many gorgeous photographs and artwork to behold within the double LP gatefold package.

It’s a bounty of both great music, and of great history. Dig in!

Available here (UK) and here (US).

Robert Forster - Songs to Play

Reviewed by Nathan Ford

I'd be hard pressed to pick an Australian band with a catalogue more essential than that of the Go-Betweens, although the Triffids and the Bad Seeds come close. And while the sweet pop hooks of Grant McLennan may be what initially grabbed my attention, it was the clever, wordy songs of Robert Forster that really made me stick around and really dig in.

Forster takes his time these days - this is only his second album since McLennan's passing in 2006 - but he's one of the few songwriters of his era who still actively contributes to his legacy with each release, rather than simply using that legacy to ensure a few sales to a dwindling fan base.

Beyond catchy as hell opener "Learn to Burn", "Songs to Play" isn't an immediate album, but fans know to expect this. Forster's songs develop, and wind their way into the listener's consciousness through a witty, Dylanesque turn of phrase here, a repetitive VU style riff there, with hooks that gradually insinuate themselves, until you discover that every note on the album serves a purpose and fits exactly where it should as part of Forster's masterplan. This being the case I was a little underwhelmed on first listen, but a week later I was convinced "Songs to Play" was one of the best thing's Forster's ever done - an opinion I seem to share (see Uncut's review for example).

Forster works best with others, and on these recordings he's joined by a band that includes members of Australian psychedelic rockers the John Steel Singers (who also co-produce), as well as members of his own immediate family, and he's never sounded more confident or at ease.

"Learn to Burn" is an early attention grabber, but there's plenty more to raise eyebrows, including "A Poet Walks" which sounds very much like a "Forever Changes" outtake with its propulsive acoustic guitars and simple, lyrical trumpet solo, and "Let Me Imagine You", a jangly nostalgia fest which wittily examines the mystique-destroying side effects of the social media age.

Forster's at the top of his game here, maturing gracefully, with even the more slight numbers boasting memorable guitar hooks, and the sort of sly, grin-inducing lyrical asides that you'd expect to find on a latter day Dylan album. I was hanging on every word.

For those yet to investigate Forster's work beyond the Go-Betweens, this is the place to start.

Vinyl and CD available here (UK) and here (US).

Video Premiere - Lovebyrd "Shot From The Sun"

We first covered German psych-pop band LOVEBYRD back in February, when their debut was released on cassette and digitally on Ongakubaka Records.

They've attracted a lot of attention since then, and have just released their album on vinyl through new Netherlands based label Hairy Records.

Today we're happy to be premiering the video for their excellent single "Shot From The Sun" (which you can still download as part of the Active Listener Sampler 29). 

The video was directed & edited by artist Yoshi Sodeoka, who has previously directed videos for a wide range of artists including Tame Impala (Elephant!), Yeasayer and Psychic TV.

Check out the video here:

Vic Mars - The Land & The Garden

Reviewed by Shaun C. Rogan

Hold the front page! We have the latest of late entries for the coveted record of the year in 2015. Read on dear listener, read on…

Clay Pipe Music is a micro-label run by the outrageously talented illustrator, Frances Castle from her base somewhere in East London. She is incredibly discerning in her choice of artist to champion and is willing to match their artistic endeavours with her own, creating the most sublimely beautiful packaging for their art to be received by the wider world. Therefore, to be on Clay Pipe means you are special (for instance Plinth, Jon Brooks and Sharron Krauss all undoubtedly fall into that category) and so I was understandably stoked to receive a copy of this to review.

So to the record in question. Vic Mars has previously been responsible for composing some fine hauntological/electronica pieces of work, all analog synths and flashbacks to schools programmes of the 70’s and 80’s. Much of it is great and you should check out his bandcamp page for evidence of my truthsay.

However, “The Land and the Garden” is an altogether different beast. This is hugely ambitious and beautifully realised, neo-classical electronic/organic chamber music with mellotron (and associated ‘natural’ tape hiss) at the centre of much of the action going on. This is the sound of memory – a psycho-geographical survey of his British homeland largely dreamt up when Vic was way out east in Japan. Part real, part myth, part imagined and refracted back through the looking glass of time. This is no derivative, niche hauntology offering.

The record (it's out on vinyl) is a complex concept piece that operates on several levels, to create a mood of yearning and barely hidden nostalgia for an England that may in truth never have existed. It’s a collection of sonic essays that drink from a hugely diverse number of rich musical fountains such as early 20th Century UK classical composers like Vaughan Williams or Benjamin Britten - the spectre of ‘The Lark Ascending’ is never too far away from my thoughts when listening to this record, or the earlier ground-breaking work of Dvorak and Mahler. There are also references to the post-war optimism that filtered its way into the documentary soundtracks of the 1950’s and 1960’s; and even 70’s BBC TV kids favourites Fingerbobs and Bagpuss. The other influence would appear to be Brian Eno and his run of plainitive piano/keyboard led ambient records from the late 1970’s as often delicate and contemplative piano figures drive much of what is contained in these grooves. As a series of musical reference points this is the equivalent of a ‘Royal Flush’ to my ears and the alchemy exercised by Vic Mars in synthesising this into a coherent whole is impressive. It’s a delicious melange of styles that intoxicates the listener and evokes strong non-specific memories of time and place. Its gentle but never soporific; sentimental but never maudlin. It's a beaut.

Vic Mars invites you to come along with him on a journey across the ‘lost’ countryside and coast of Britain in all its colour and grandeur; its agriculture and beauty. Picking out highlights from the 14 wonderful vignettes within is a fairly pointless task - it most definitely should be heard in its totality but since you asked, “Villages, hamlets and fetes” with its lovely circular mellotron motif with ‘oboe’ counterpoint and major chord changes is a particular joy. You can almost smell the country air oozing from the speakers. “Butterflies, bees and other insects” is a distant relative of Belbury Poly’s “Geography of Peace” with its flutes and acoustic guitar strumming leading us out across the countryside, past the old church and into the mind meadow. Lovely.

The mournful, closing “Bracken and grassland” with its dreamlike piano figure and sympathetic (synthetic?) vibraphone and oboe accompaniment is exquisite. As it subsides into silence we look up to see that the blackbirds have gone off to roost, the tractor is back in the shed and the sun has disappeared behind the distant, rolling hills.

“The Land and the Garden” is a wonderful achievement - a beam of sunlight through a broken cloud mass, a field of reeds swaying gently in a meadow lea, an acknowledgement that life may be slightly absurd but it is ultimately a pursuit that can still beguile and hold many treasures. Vic Mars is in a beautiful place out in the country. Share in his wonder.

As with all Clay Pipe releases it is strictly limited to 300 numbered copies so the advice is to not hang about. Available from the Clay Pipe website or sympathetic stockists.

The Fresh and Onlys - Early Years Anthology

Reviewed by Elizabeth Klisiewicz

San Francisco garage rockers The Fresh and Onlys have unearthed a collection of oldies for our listening pleasure, Recording now on Castle Face, fans should know what to expect with this release. Lo-fi garage rock with trippy elements and a wall of reverb, along with well-executed and fun songs. The band refers to this as a collection of basement tapes, so let’s run with that. I have enjoyed the past few albums from these guys, but have not delved deeply into their catalogue. I suspect you can drop the needle anywhere, play spot the influence, or point to another song that resembles these early recordings. Or, like me, you could just enjoy it as a standalone release without a frame of reference.

Starting with “Tongue in Cheek” with some bottom dwelling guitar, it morphs into a cool garage riff on the bridge. And then we have the organ-driven “Don’t Look Down”, which is one of my favorites here. “Seven Directions” is joined by harmonica a few minutes in, along with some fun harmonies, and must be a treat live. “Summer Wheels” sounds like a great lost 60s tune from a Nuggets collection, while “Sunglasses” beckons us down to the beach. “I’m a Puppet” has some way cool harmonies and some trippy elements, and “Deviants Within” is even crazier, with all sorts of studio trickery and slightly creepy voices streaming through the mix. “Ooh I Got Got” actually reminds me of Spirit, mostly due to the similarity to Randy California’s playing. “Stranger In My House” is also great fun, which leads up to the final track, “Pile of Bones”. It moves a bit slower, with some hazy psych blues throughout.

Recommended for all fans of garage rock who enjoy a bit of silliness thrown in.

Available here (US) and here (UK).

Wanna hear it? You can stream the whole thing here at COS.

The Active Listener Sampler 38

Here's this month's sampler, featuring some of our favourite tracks from albums we've reviewed this past month, as well as a few surprises, including the premiere of Garden Gate's "Moonchild", from their forthcoming album which we are very, very excited about.

This month we feature the art of Fredrik Wandem on the sleeve, and the following fab tracks:

1. Garden Gate - Moonchild 03:09 2. Moonwood - Trans Mojave Express 04:40 3. The Seventh Cyrkle - Beginning...The Seventh Cyrkle 03:03 4. Verma - Kaskal / The Journey 03:12 5. Lovebyrd - Magnetic Levitation 02:59 6. French Exit - Glass Doors 02:34 7. The Wellgreen - Summer Rain 03:08 8. Daniel Wylie's Cosmic Rough Riders - Yesterday's A Waste Of Time 06:32 9. Invisible Astro Healing Rhythm Quartet - Headways 05:19 10. Mystic Brew - Space Is The Place to Be 05:23 11. The Dead Astronaut - Skyboat Reprise 06:52 12. The Roaring 420s - Keep Me Sane, Mary Jane 05:16 13. Maddy Marsan - Armour 04:22 14. Blind Slime - A Place Elf-Haunted 02:44 15. Radar Men From The Moon - Neon 11:16

Free downloads welcome (as always) and any donations very gratefully accepted towards our running costs. Get it here:

Verma - Mul.Apin

Reviewed by Joseph Murphy

Verma’s “Sunrunner” (2014) put Chicago-based space rockers, Verma, on my mental map. Since then – along with instrumentalist / vocalist Whitney Johnson’s project, Matchess – my copy has been subjected to daily repeats. Fortunately, the band already had a few releases, fueling a stronger affection for their often improvised records, high quality experimentation, and general blurring of synth-heavy – and occasionally just regular heavy – psych, shoegaze, and Krautrock aesthetics. This month, Verma – once again, by way of the great Trouble in Mind Records – unveils “Mul.Apin,” which is a sort of return for the band, finding itself again pounding through long-form compositions and favoring mood, atmosphere, texture, rhythm over traditional structure – though, even within these structures, their in-studio improvisation sounds untethered, while “Sunrunner” put a larger emphasis on song structure and Johnson’s voice (see, in particular, “Chrome). Composed of five long takes – Side B is a single, sixteen minute track, “Gal.Damhara / Last.Battle” – “Mul.Apin” has much more in common with their Trouble in Mind debut, “Coltan” (2013).

Like most of Veram’s releases, there’s a consistency that makes the album cohere in a way that many do not. According to TiM’s write up, “Mul.Apin” sets forth to do this a bit more purposefully than the last, confirming a listener’s suspicion that each track is plotted carefully. Mul.Apin is the conventional name given to the Babylonian star maps for astrology and astronomy, so each track acts, at least conceptually, as a mile marker against the void of space. Of course, in the end, these are simply wonderful excursions into sonic richness, but, if it helps to understand them otherwise, there’s a truth to that as well. So let “Nerebu / Overture” build and the motorik “Kaskal / The.Journey” pulse on.

As has become expected of Verma and Trouble in Mind Records, this one is highly recommended. 

“Mul.Apin” is available directly from Trouble in Mind Records webstore, or from Amazon US or UK.

For those readers who are looking for an introduction, check out the band’s Bandcamp page for a few excellent “name your price” or free downloads and streams of earlier releases.

And here's a sample of one of "Mul.Apin"s tracks:

The Secrets - Infatuation: Singles and Demos 1966-1968 / The Mickey Finn - Garden of my Mind: The Complete Recordings 1964-1967

Reviewed by Nathan Ford

We've got a couple of new releases today from two of Cherry Red's very fine labels, Grapefruit Records and RPM. Both labels are renowned for digging up excruciatingly rare, and often unreleased gems from the sixties, a well which should be well and truly dry by now, but is miraculously still giving.

First up is "Infatuation: Singles & Demos 1966-1968" by the Secrets, a young UK combo largely relegated to footnotes and factual tidbits that mention Clifford T. Ward's involvement as leader, and the fact that he wrote future UK psych masterpiece "Path Through The Forest" (popularised by The Factory) whilst a member of this group. Little that has been previously written would suggest that further investigation was necessary, yet this packed to the gills 28 track collection is a compelling document of exceptionally well written sixties pop, which on occasion suggests a poppier UK counterpoint to Arthur Lee's early material, minus the political commentary. Ward's vocals are often a dead-ringer for Lee's, and there are similarities in the minor key jangle that can't be shaken off, once noticed.

Psych influences are mild here, but the flavour of the era is inescapible and those with a thing for extremely melodic, well crafted sixties guitar pop will swoon over this collection, which includes both sides of each of their five singles, as well as a raft of unusually worthy demos and studio outtakes, including two quite different takes of Ward's classic "Path Through the Forest", which, despite its legendary status, can't compete with the earworm immediacy of "Keeping My Head Above Water" and "Naughty Boy". Exceptional.

Less consistent, but equally interesting is "Garden of my Mind", the first retrosopective collection from the Mickey Finn, which features the massive title track (a favourite of collectors everywhere), earlier and later singles (one produced by Shel Talmy), and previously unheard demos - 17 tracks in all, apparently everything recorded by the band in its many guises.

The earliest material here (recorded for ska label Blue Beat as Mickey Finn & The Blue Men) is a little uneven, although mod / ska fans will no doubt enjoy. Much more intersting is their R&B/beat period, which the majority of this disc chronicles. It takes a lot to distinguish yourself in this field, but there's no doubting the fact that the Mickey Finn had that star quality, yet somehow failed to crossover into the greater public consciousness, despite some of the toughest performances put to tape in the era, with some wild harmonica moments, and gritty vocals providing the most eyebrow raising moments.

In all fairness there's little else here that sounds like or matches their legendary garage psych single "Garden of My Mind" - there's little out there by anyone that does - but for those interested in tracing the evolution of popular UK music of the sixties from ska, to mod to beat/R&B to garage psych to psych-pop via one pocket sized compendium, this will prove to be a fascinating listen, with above average performances from a band that couldn't quite settle on their own sound, but could have potentially hit big with any of those that they turned their hand to.

The Secrets - Infatuation is available here (UK) (US), and the Mickey Finn's Garden of My Mind is available here (UK) (US).

Shadow Folk / Sunny Beaches - Split LP

Reviewed by John Knoernschild

This new Shadow Folk / Sunny Beaches Split LP is an album that takes you on a journey from the 60s to the 90s.

It’s great to hear a new band that brings back the 60s-70s era vibe. Shadow Folk, hailing from Halifax, Nova Scotia, completely surround themselves in this for their half of this new split. It’s hard to hit that “sound” from the 60s-70s. The feeling of our time just isn’t on par with what was happening fifty years ago. But sometimes something special happens, and that vibe can still be tapped into. It's happened here, enveloping the band and flowing into every song. Influences from David Bowie to The Pink Floyd can be heard during thir half, and while they're clearly trying to capture a certain sound, The Shadow Folk have made it their own.

Also hailing from Halifax, Nova Scotia, Sunny Beaches is a 4 piece band led by Keith Doiron. They take over on the second half of this split LP. Their side gets a bit grungy. The soft vocals are traded in for heavy distorted ones. The bass gets more punchy and distorted, while the rhythm guitar stays about the same, showing that that sound shines in any era of music. It’s like we jumped straight from the 60s to the 90s, invoking the grunge and indie rock sound of that era, mixing them together to create a sound of their own. Even the guitar solos ring of the 90s. It’s like Cake had a baby with Alice in Chains and they named it Sunny Beaches. Then, sometimes, Beaches’ friend Syd Barrett comes over and picks up a guitar, with a unique sound coming from this creation.

Overall, Shadow Folk/Sunny Beaches Split LP is a great album, showing that two bands with quite different sounds can get together and create something special, if they share a vibe and a mindset.

Name your price download available here:

Invisible Astro Healing Rhythm Quartet – 2

Reviewed by Todd Leiter-Weintraub (Hop On Pop)

The press materials that accompanied Invisible Astro Healing Rhythm Quartet’s second album claim that the band pulls a strong influence from the Ethiopian funk of the 70s and 80s. While I am certainly hearing those influences in bits and pieces, I am also hearing a lot more.

“Praise One” opens with some spacy, atmospheric synth and percussion, but then the full band kicks in with a groove that is reminiscent of the Thrill Jockey post-rock bands that came of age in the 1990s. However, the horn interplay looks back to Sun Ra’s Arkestra of the mid 70s, with some fine unison playing and mad electric piano that flits about in the background like an insane hummingbird. And I mean that as a good thing.

“Praise 2” begins with a loping country waltz that exposes the band’s Bakersfield roots. But then, in comes the Farfisa to turn that sound on its ear. Some nice clean-tone guitar melodies follow to reinforce the country vibe, and then warp it, making way for a slightly tipsy-sounding horn section. A shift to 4/4 around the 4-minute mark, and we are back into jazzier territory, with saxophones squawking over the off-time syncopation of the rhythm section, disappearing any hint of the earlier country music sound.

“Headways” brings some of that great, shuffling funk stutter referred to in the press materials, but nonetheless has an almost Salsa-like feel at times. The track kicks off with some weird, spacy synth that sets up the main theme, and is then joined by some very psychedelic wah-guitar that helps the synth carry the main load. Soon enough, however, the sax comes in and flies off the deep end, setting up some great band interplay. A psychedelic wah-guitar solo peels off from the main theme, building and expanding on it, in the best of the jazz tradition.

The album ends on a romantic note. “Cosmic Loneliness” has shades of Sonny Sharrock’s more lyrical moments with Pharaoh Sanders. The saxophone and guitar compliment each other in a wobbly walk together down a crookedly melodic path. Then the distortion drops off the guitar for a quick foray into 60s space/surf rock, only to be interrupted by party crashing horns. All jazz, all day, but mostly all night: smoky and sexy, like the soundtrack for a soft-focus Hollywood love scene.

In all, the influences are so varied that it’s a difficult sound to pin down. For the listener who just wants something pleasant to play in the background, this is an album that can fit the bill, and you can let it simply float pleasantly by. But the groove can transport you, too, if you let it, and for the more-attentive listener, there is enough substance to provide greater rewards with each listen.

Available directly from the Trouble in Mind webstore, or from Amazons US and UK.