New York Music Daily

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Tag: cumbia sicadelica

A Killer Twinbill in Prospect Park on July 12 – If They Get the Sound Right!

It was fascinating to see some of New York’s most transcendent Indian music talent onstage at Prospect Park Bandshell last year, joined by harpist Brandee Younger and other jazz artists playing austerely enveloping new arrangements of politically-fueled John Coltrane classics.

It was maddening not to be able to hear much of the music, considering how bad the sound was. To make matters worse, these concerts used to be free for everyone, but now the venue is selling the seats closest to the stage. As usual, they were mostly empty, but remained roped off to anyone who didn’t pay the cover charge but might have really wanted to hear what the group were doing. During the set afterward by sax legend Pharaoh Sanders and his quartet, the sound was just as bad, bass and drums jacked to ridiculous extremes. It didn’t take long for word to get around: the sound here sucks!

But it didn’t used to. If the organizers would axe that bozo white kid from out of town who obviously grew up on phat beatzzz and thinks that Eminem is the epitome of sonic excellence – and then replaced him with a competent sound engineer – that would be reason for Brooklyn to celebrate. Because the lineup of free shows at the bandshell this year is really excellent, as enticing as it was last year.

One excellent Brooklyn band on the schedule who really need a good sound mix are the magically swirling Combo Chimbita. If they’re amped properly, as they were while playing to a packed house at Barbes back in April, they’ll build as wildly kaleidoscopic a sound as you’ll hear this year. If they aren’t, their set there at around 8 PM on July 12 will be a muddy mess.

Combo Chimbita are a supergroup of sorts who went through a long dormant period, so it’s good to see them playing out again. Frontwoman Carolina Oliveros keeps busy leading ancient-sounding, hypnotically raucous Afro-Colombian trance-dance ensemble Bulla en el Barrio. Drummer Dilemastronauta also plays psychedelic tropicalia with his own project, Los Sabrosos Cosmicos. The rest of the group includes guitarist Niño Lento – who is neither a kid, nor is he slow – and bassist/keyboardist Prince of Queens,

Their Barbes set was as hypnotic as it was short – under an hour, very brief by this band’s standards. The beats were slinky and constantly shifted, sometimes toward tango, other times toward reggae, and finally a more or less straight-up Colombian cumbia strut about 40 minutes into the set. There was a mixing desk in addition to the keys – whether the extraneous squiggles were coming from there or from the guitar pedal was impossible to tell because the room was so packed. A lot of Spanish was being spoken – it was a smart, young, energized crowd, a welcome change from the rich white kids from out of state who’ve blighted Park Slope so badly in recent years.

Niño Lento flung stinging minor-key guitar chords and chordlets into the mix, sometimes to linger and spiral around, other times to slash through the constantly shifting textural wash. Out in front of the band, swaying and scraping her guacharaca, Oliveros channeled otherworldly menace with her raw, throaty delivery. She has a background singing metal and this project really gives her a chance to go for the jugular. As a bonus, Antibalas will be playing after Combo Chimbita on the 12th in the park: the long-running Afrobeat revivalists are as strong now as during their long residency at the old Knitting Factory in Tribeca 20 years ago.

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Chicha Libre’s Canibalismo: Best Album of 2012?

Chicha music in Peru in the 70s followed the same trajectory as the American surf music that inspired it. Along with the sounds that get pigeonholed as surf rock these days, the Ventures and Dick Dale and their contemporaries also played country, and western swing, and hotrod themes, then went through a psychedelic phase that eventually got pretty cheesy before a second wave of surf bands dove in and rescued it. Likewise, Los Destellos, Los Diablos Rojos, Los Mirlos and countless other Peruvian bands whose amazingly syncretic work has recently emerged from obscurity played a whole bunch of different styles, from straight-up rock, to electrified Andean folk, Colombian cumbias, Brazilian and Cuban-influenced styles. But by the early 80s, they’d started using Casios and digital technology, and the focus shifted to the girls shimmying onstage alongside what was left of the bands phoning in all the old vamps. Until Chicha Libre came along, brought the style north with them and introduced the rest of the world to an amazing, trippy, twangy sound that for decades had been exclusively an indigenous phenomenon.

Now the Brooklyn group leading the psychedelic cumbia revival have a new album, Canibalismo, coming out on Barbes Records (it hasn’t officially hit yet, but if you swing by Barbes, no doubt you can pick up a copy and then have a drink to celebrate the world-renowned club’s ten years in business). Even more than their classic 2008 debut, Sonido Amazonico, the new album isn’t exclusively chicha music: there’s a couple of tracks that sound like Gainsbourg, a little dub, a Mexican border pop vamp and a Santana-esque rock number. They’ve added a lot of different textures to the mix: keyboardist Josh Camp has added 80s synth and other vintage sounds along with his swirling, reverb-drenched Hohner Electrovox (a vintage synthesizer in an accordion body, marketed to a latin audience fifty years ago). Likewise, versatile guitarist Vincent Douglas gets more time in the spotlight, a very welcome development; there are even psychedelic EFX on frontman Olivier Conan’s cuatro, which essentially serves as the rhythm guitar here.

The opening track, La Plata (En Mi Carrito De Lata) sets the stage, a bouncily shuffling 2-chord chromatic vamp that gives Camp a launching pad for a million echoey keyboard settings, plus oooh-oooh backing vocals, and a disco beat pulsing from the congas and timbales. La Danza Del Millionario may have originated as a bad-guy theme written for a soundtrack to the 1921 Charlie Chaplin silent film The Idle Class: it’s a creepily direct, intense tune that puts the melody front and center rather than the effects. The downright creepiest track here is Papageno Electrico, which sounds like a Japanese surf song, reverb guitar trading on and off leads with innumerable woozy oscillating keyboard textures and equally woozy, menacingly cartoonish vocals. And the tremoloing, funereal Depresion Tropical reminds that bad times always hit the third world harder than the first

Camp contributes El Carnicero de Chicago (Chicago Butcher), a minor-key clave rock groove that builds to a sort of chicha highway anthem. The only straight-up cover here is a lickety-split version of Los Mirlos’ Muchachita Del Oriente (Asian Girl), lit up by a couple of nimble breaks by both percussionists; however, the band also nick a famous theme by Juaneco y Su Combo and turns it into a tribute to bandleader Juan Wong Popolizio, envisioning the man who lost most of his band in a tragic 1977 plane crash reunited with them in the great beyond.

The rest of the album is even more eclectic. L’Age D’Or, a slow, slinky, snide look at nostalgia has Conan doing his best Gauloise-flavored Gainsbourg rasp in his native French over electric harpsichord and echoey Electrovox. Number 17 looks back to the kitchen-sink psychedelia of Los Destellos’ classic 1971 album Constelacion (and to Henry Mancini) with its casually crescendoing trippiness, echoey vocals and absurdist lyrics (a tribute to Fermat prime numbers…all five of them). Lupita en la Selva y el Doctor is a slyly undulating tropical tribute to Albert Hoffman, who first synthesized LSD. Ride of the Valkyries is punk in spirit if not execution, revealing how incredibly cheesy and ridiculous Wagner’s original was – it has the feel of something that the bass player might have brought in at the last minute at the end of the recording session and dared his bandmates to take a stab at. The album ends with Once Tejones (Eleven Badgers), a playful shuffling anthem with boomy percussion, intricate late 60s soul guitar and some unexpectedly keening slide work.

Is this the best album of 2012? Probably. That’s not to say that any such competition between bands exists, or that it should. It’s simply to say that this album packs more pleasure and thrills than anything else released this year so far. To put it in context, it’s right up there with Raya Brass Band’s Dancing on Ashes, Dancing on Cinders, and Black Fortress of Opium’s Stratospherical. Chicha Libre are currently on South American tour; after a series of midwest US dates, they play the album release show for this one at 9 PM on May 19 at the 92YTribeca for a measly ten bucks.

And if the press release for this album is to be believed, the cumbia revolution has finally reached the fauxhemian class: the pretty boys of Animal Collective have ostensibly been spotted sashaying around Lima, flashing their parents’ credit cards and digging through musty old crates of vinyl in search of chicha treasures. But not to learn how to play the music, of course: only to sample it.