Guitarist/bandleader Kiko Villamizar gives the listener plenty of food for thought with his new album Todo El Mundo, streaming at youtube. There’s a lot of impressively relevant subject matter for a party record. If you like your cumbia with some oldschool punk rock edge and bite, this is your jam.
But this isn’t any ordinary party record: in its ramshackle, ferocious way, it’s a throwback to the classic chicha music of the early 70s, when not all the songs were about drinking and partying and chasing women. Much as Villamizar’s songs are psychedelic and danceable, he’s been addressing issues like anti-immigrant bigotry and the threat of environmental destruction since the beginning of his career.
Villamizar is Colombian by heritage: he sings in Spanish, and even though there are plenty of serious songs on the album, he hasn’t lost his surreal sense of humor. He also asserts himself on guitar more than he ever has, right from the start with the opening track, Tuya Tuyita, a classic psychedelic cumbia in a Juaneco vein, burning with distortion over the flurrying groove from bassist Greg Goodman and drummer Michael Longoria, with Beto Cartagena on caja vallenata. The gist of the song is taking ownership of your life, for better or worse.
Villamizar turns up the surfy reverb on Siembra el Maiz, a trippy reminder that it’s time to start planting seeds if we want to create something better. Guest Victor Cruz’s gaita hembra reed flute wafts through the clang of the guitar and the thicket of percussion in the album’s title track, a swaying, electrified take on coastal Colombian bullerengue which addresses the ironies in how people native to the Americas are the first to be imprisoned by la migra.
Guru is not a an Indian theme but a biting funk-tinged latin soul groove. Flor de Maracuyá is a rambunctious tribute to the passion flower that’s ubiquitous in climates further south. Villamizar fires off some pretty wild guitar spirals in Papa Soltero, then mashes up a classic chicha sound with cheery bullerengue in La Caravana.
The best song on the album is Tiempo de los Cucuyos, a slow, slinky, elegantly careening number that poses some provocative questions about how the earth might be trying to wake us to how we need to take care of her. Later, the band wind their way through El Grillo, the record’s most amusing and crazed track. They close with Lelolai, which is funny for completely different reasons.