Friday, March 6, 2015

Los Jaivas - 1982 - Aconcagua

Los Jaivas

01. Aconcagua (3:38)
02. Takirari del Puerto (3:48)
03. Debajo de las higueras (3:28)
04. Todos juntos (3:56)
05. Desde un Barrial (5:29)
06. Huairuro (3:01)
07. Corre que te Pillo (9:50)

- Gato Alquinta / lead and backing vocals, electric and acoustic guitars, charango, mandoline, cuzquena, quena, zampoña, recorder, trumpets, tumbadoras
- Mario Mutis / bass, electric guitar, matraca, bombo leguero, vocals
- Eduardo Parra / electric piano, Mini-Moog, harpsichord, pandereta, bongo, tarkas
- Claudio Parra / piano, Mini-Moog, celesta, guiro, trutrucas
- Gabriel Parra / drums, percussion, vocals

Aconcagua is widely perceived as a backward step in the Los Jaivas journey, and justifiably so, for it is the weakest in the run of albums from 1975 to 1984 (significantly trumped by the preceeding trio of Los Jaivas (El Indio), Cancion Del Sur and Alturas De Macchu Picchu as well as its successor the double album Obras De Violeta Parra). Nonetheless for all its relative "simplicity" it does contain some beautiful folk music.

The opening title track is delicious, with heartfelt vocals, glorious dancing flutes, and clever use of electric guitar and Andean mandolin (charanga) to build the mood. And the second track, Desde Un Barril starts off with an interesting combination of Jew's harp and Moog (I swear it) and has a "main body" that is rhythmically challenging, with some nice piano flourishes and muscular bass work (even a brief solo) before more joyous flute returns.

Unfortunately from that point on, the album is a pretty pop-oriented presentation of some great folk music. Debajo De La Higueras and the instrumentals Takirari Del Puerto and Huairuro are all the kinds of song that Las Jaivas could play in their sleep. A remake of Corre Que Te Pillo (from the Todos Juntos album recorded a decade earlier) is better though and emphasizes the shift in the band's sound over the years. This is a much more taut version than the original with prominent piano, electric guitar and synth brass! Despite some more challenging moments including some great Gabriel Parra drum excursions, it does lack the charm of the infinitely more naive original.

I should say that again there are two different versions of this album, as far as I know, and my version omits the 1982 re-recording of the superb Todos Juntos track (rather disappointingly, as it is my favourite song in the Spanish language), in favour of Manbo Del Machaguay, which is a catchy blend of blistering electric guitar, energetic drumming and traditional flutes.

I would recommend that you come to this one only after you've fallen in love with the other, more progressive albums that surround it. And perhaps a low level of expectation might just leave you enjoying its handful of pleasant surprises!

Los Jaivas - 1981 - Alturas De Macchu Picchu

Los Jaivas 
Alturas De Macchu Picchu

01. Del aire al aire
02. La poderosa muerte
03. Amor americano
04. Aguila sideral
05. Antigua America
06. Sube a nacer conmigo hermano
07. Final

- Gato Alquinta / lead vocals, electric and acoustic guitars, bass, cuarto, zampoña, quena, ocarina
- Mario Mutis / bass, electric guitar, zampoña, quena, vocals
- Eduardo Parra / electric piano, Mini-Moog, tarka
- Claudio Parra / grand and electric piano, mini-Moog, harpsichord
- Gabriel Parra / drums, percussion, xylophone, trutrucas, tarka, vocals

Guest musicians:
- Alberto Ledo / all instruments (1)
- Patricio Castillo / quena (4), tarka (5)

For all the spectacular achievements of Los Jaivas, it is widely accepted that it is Alturas De Macchu Picchu on which the group reached its peak (although I think I just about prefer the double album Obras De Violeta Parra). Certainly it is this album on which its international reputation was established. Based on selected texts of the poet Pablo Neruda, this brilliant work was crafted when the band was in exile in France. At various times during the course of this album, the band's fusion of its Andean influences and "conventional" prog-rock abilities is flawless.

Del Aire Al Aire helps provide the majestic ambience, but the album's real opening statement is of course La Poderosa Muerte. Slow-building, like many of their best pieces (notably Cancion Del Sur from the previous album), it sees a gradual establishment of Andean flutes, a haunting vocal melody from Alquinto (with deliciously pained harmony). The entry of Gabriel Parra's superbly inventive drums, the fuzzy synthesizer work, a swirl of sci-fi inspired Moogs, the energetic emergence of the electric guitar, traditional chants with clever piano backing that eventually leads into another beautiful vocal segment from Alquinta, a brief brass symphony ... this composition has so many elements. This really is music of the ages, a timeless piece in which the musical journey is natural and flawless.

Thankfully the masterpiece keeps unfolding. Amor Americano is playful and relies more on vocals although the strident guitar (double-tracked with synths) is also important, particularly during the gorgeous solo passages. This song echoes earlier Los Jaivas folk material, but uses the instruments of Western rock, not native Andrean folk. Then there's the phased vocals of the eerie compelling masterpiece Aguila Sideral, which layers piano, guitar and then pan-pipes over an unobtrusive rhythm, in a truly unforgettable manner.

As for Antigua America, Claudio Parra's piano playing (I believe it is he, even if brother Eduardo is the other keyboardist) is simply stunning and Gabriel's drumming is also extremely creative. When the band is in full flight with dancing guitar and piano lines, it is thing of pure beauty. The exuberant Latin brass theme of Sube A Nacer Conmigo Hermano also bristles with life, and although this sort of music is nowadays the purvue of acts like The Gypsy Kings, Los Jaivas' arrangements are excellent. The violent power of the vocals always takes surprise me when I return to this album. Final is just that ... a tantalising soliloquoy over rippling piano lines ... an irresistibly melancholic piece of music.

Alturas De Macchu Picchu is deeply emotional, steeped in legend and history, a seamless fusion of what was then past and present

Los Jaivas - 1979 - Letanias por el Azar

Los Jaivas
Letanias por el Azar

01. Introducción (0:36)
02. Sesión De Ensayo (7:18)
03. Letanías Por El Azar (21:51)
04. El Gavilán (10:34)
05. Run Run Se Fué Pal Norte (5:00)
06. Guillatún (Instrumental) (12:02)

Gato Alquinta: Voz, Guitarra Eléctrica
Mario Mutis: Bajo
Claudio Parra: Piano
Eduardo Parra: Teclados, Minimoog
Gabriel Parra: Bateria

Recorded live at the Lebuinuskerk in Deventer, The Netherlands with the Oversijssels Philharmonisch Orkest on September 9, 1979

It had already been composed back in 1974 in Argentina, where it was played live for the first time in December that year.

It has never been released officially, but it is my absolute favorite piece of work by Los Jaivas

Los Jaivas - 1977 - Canción Del Sur

Los Jaivas
Canción Del Sur

01. La Vida Màgica, Ay Sí (3:21)
02. En La Cumbre De Un Cerro (5:06)
03. Canción Para Los Pàjaros (3:14)
04. Dum Dum Tambora (7:50)
05. Canción Del Sur (7:39)
06. Danzas (8:44)
07. Frescura Antigua (3:18)

Contains 4 bonus tracks:
08. En Tu Horas (3:46)
09. Mambo de Machaguay (3:34)
10. Sueňo del Inca (3:39)
11. Bebida Magica (2:55)

Tracks 8, 9 - singles 1976,
10, 11 - singles 1978.

- Gato Alquinta / vocals, electric and acoustic guitars, bass, trutrucas
- Pajaro Canzani / bass
- Eduardo Parra / electric piano and Mini-Moog
- Claudio Parra / grand piano, keyboards
- Gabriel Parra / drums, percussion and vocals

Guest musicians:
- Alberto Ledo / charango

By their time of their sixth album, Los Jaivas had already undergone a transformation. The combination of psychedelic guitar, abundant percussion and strong traditional Andean vibes which fueled their earlier albums like Todos Juntos was being gradually fused with a more complex brand of prog rock in which the drumming skills of Gabriel Parra and the double-barrelled keyboard attack of his brothers Eduardo and Claudio took greater prominence. While the band's roots are unmistakable, the exiles (who had fled Chile after the 1973 military coup) continue the mix of sophistication and exploration first expressed in 1975's Los Jaivas (El Indio) album.

The beautiful opener La Vida Màgica, Ay Sí simply dances with life. A gorgeous warm melody is transferred from harpsichord to piano to electric guitar as the band moves in with restrained ferocity before an exuberant vocal emerges. Its follow-up En La Cunbre De Cerro is a lyrical piece that starts off barely audible but eventually moves into a nice piano/brass exchange, before (three minutes into the song) an unexpected rousing explosion of guitar transforms the dynamic of the piece.

After the opening pair of tunes, the album does lose a little momentum through Cancion Par Los Pajaros, an Andrean instrumental featuring quenas (Andean flutes) and percussion and the vocal/percussive Dum Dum Tambora (which is based on an Uruguayan poem) a pleasing piece that ebbs and flows and goes through a few modes (even visiting the Far East at one point!) but which eventually drags towards the end.

Thankfully it all comes together again with the slow-moving title track. Cancion Del Sur (which means Song of the South) was inspired by the beautiful imposing landscapes of the southern most part of the South American continent, and Gato Alquinto's lead vocal melody is gentle and initially desolate, before a glorious eerie synth solo erupts over a rippling piano background in a spectacular and unconventional use of double keyboards. The massive instrumental Danzas is another amazing song ... starting off as a slow blues crawl with a pan-pipe solo over it, with an expansive fuzzy synth taking over, and then a charango (Andean mandolin) before a stomping piano and distorted guitar enjoy a freak out! The album closes with another work of glorious beauty, the guitar/charango/pan-pipe Andean instrumental Frescura Antigua.

The bonus tracks here include the unintentionally hilarious curiousity single recordings Bebida Magica and Sueno Del Inca which are no more no less than Andean instrumental disco tracks ... do remember that this album came out in 1977! There's also the beautiful En Tu Hora, with a wonderful melody and passionate vocals from Alquinta and Manbo Del Machaguay, another relatively "commercial" offering albeit with blistering electric guitar sitting comfortably alongside traditional flutes.

Overall Cancion Del Sur is another feather in Los Jaivas' cap. Not quite as thrilling from a progressive viewpoint as Alturas De Macchu Picchu and Obras De Violeta Parra, nor perhaps quite as emotionally compelling as Tudos Juntos ... but a very strong album nonetheless.

Los Jaivas - 1975 - Los Jaivas

Los Jaivas
Los Jaivas

01. Pregón Para Iluminarse (5:17)
02. Guajira Cósmica (7:59)
03. La Conquistada (7:13)
04. Un Mar De Gente (4:09)
05. Un Día De Tus Días (3:10)
06. Tarka Y Ocarina (13:18)
  a. Diablada
  b. Trote
  c. Kotaiki

Contains 2 bonus tracks (1976 singles):
07. En tus horas (3:43)
08. Mambo de Machaguay (4:09)

- Gato Alquinta / vocals, electric and acoustic guitars, charango, recorder, piccolo, tarka, trutruka, percussion
- Julio Anderson / bass, acoustic guitar, trutruca, backing vocals
- Eduardo Parra / piano, organ, percussion, zampona
- Claudio Parra / piano, electric piano, percussion, zampona, trutruca
- Gabriel Parra / drums, percussion, trutruca, backing vocals
- Alberto Ledo / charango, tarka, zampona, trutruca, percussion, backing vocals

Guest musician:
- Anonymous Guarani harpist / harp (1)

One of the most succesful Folk/Rock bands from Chile and definitely the most famous among Prog fans, Los Jaivas were established by brothers Claudio Parra (multi-instrumentalist), Eduardo Parra (keyboards) and Gabriel Parra (drums) in Vina del Mar around 1963, featuring also two more multi-instrumentalists, Mario Mutis and Eduardo "Gato" Alquinta.At the beginning their sound was quite immature, developing eventually a personal style during late-60's with many improvised influences, including Rock, Folk and Psychedelic Music.By early-70's the group had become very popular, releasing two albums, mostly known with the titles of their covers, but in 1973 they decided to move to Argentina due to the rising dictatorship in the country.Even worse, Mutis had to depart from his duties due to personal issues and he was replaced by Julio Anderson, while Alberto Ledo also joined in traditional instruments.In 1975 a third album with the ''Los Jaivas'' trademark was released on EMI Argentina, mostly known as ''El indio''.

''Pregon para iluminarse'' shows a very interesting mix of Andean Folk Music with Rock aesthetics, featuring delicate Spanish vocals and traditional flutes next to a jazzy piano and the nice electric guitars, but the following ''Guajira cosmica'' contains maybe too many Folk elements, led by multi-vocal tunes and a rather indifferent atmosphere, closer to traditional Andean Folk.''La conquistada'' is simply great, very much in a Latin Prog/Fusion mood, with great electric solos and beautiful piano lines mixed with acoustic strings, while for the first time the vocals are fantastic with a very sensitive color.The two short opening tracks of the flipside follow again a Chilean Folk path with a romantic atmosphere, led by plenty of vocals, dominant percussions and flutes as well as traditional acoustic instruments, like the charango and the mandolin.A very long composition will close the album, the 13-min. ''Tarka y ocarina'', which every Latin band would be proud if creating it.Here the multiple influences come in evidence, starting in a typical folky enviroment, soon bursting into an instrumental Prog Rock amalgam of Classical and Folk influences with tremendous piano work by Claudio Parra and incredible complex textures with the rhythm section along the lines of PREMIATA FORNERIA MARCONI, leading this into an atmospheric outro with acoustic strings and smooth piano interludes.

Rather uneven album, containing though quite a few amazing moments.''El indio'' deserves to be listened by every Prog fan, showcasing the early steps of Los Jaivas into more adventurous musical forms.Warmly recommended.

Los Jaivas & Manduka - 1974 - Los Sueños de América

Los Jaivas & Manduka 
Los Sueños de América

01. Don Juan de la Suerte (3:46)
02. La Centinela (4:29)
03. Date una Vuelta en el Aire (6:05)
04. Ta bom ta que ta (5:38)
05. Traguito de Don (3:23)
06. Los Sueños de América (12:09)
07. Primer encuentro Latinoamericano de la Soledad (3:45)

- Manduka / vocals, acoustic guitar, tumbadoras, hidr?fono, palmas, lorito, caxexe

- Gato Alquinta / vocals, electric and acoustic guitars, charango, recorder, trutruca, berimbao
- Mario Mutis / bass, charango, cuatro, ocarina, palmas, backing vocals
- Eduardo Parra / piano, vibraphone, pandereta, bongo, bombo leguero, palmas, backing vocals
- Claudio Parra / piano, rasca de metal, maracas, berimbao, palmas, backing vocals
- Gabriel Parra / drums, percussion, palmas, backing vocals

Recorded in 1974 in Argentina, but shelved until 1979 and released in Spain by progressive label Movieplay/Gong while Los Jaivas were touring in Europe. You can read the whole history (in Spanish) here:

Seems there is also a very obscure Chilean release in LP, but it's impossible to find info about it.

Musically, it's very similar to early albums by Los Jaivas ("El volantin" y "La ventana"), mixing very sucessfully Andean folk with progressive and experimentation.

Los Jaivas - 1973 - Palomita Blanca

Los Jaivas 
Palomita Blanca

01. Tema de los títulos (3:54)
02. Huaynito de la mañana (1:34)
03. Dónde estabas tú (2:44)
04. Vergüenza ajena (2:48)
05. Tema de las clases (2:54)
06. Tema del colegio (2:33)
07. Himno del Liceo Guillermo Rivera de Viňa Del Mar (0:23)
08. Cueca de los refranes (1:59)
09. Verbo divino (1:01)
10. Como el viento (0:34)
11. Vergüenza ajena (Orquestada) (3:18)
12. Piedra Roja (13:59)
13. Disuación (4:32)
14. Vete dolor (6:13)

- Gato Alquinta / lead and backing vocals, electric and acoustic guitars, recorder, gaita, maracas
- Mario Mutis / bass, vocals (1), acoustic guitar, pandereta, backing vocals
- Eduardo Parra / chinchecordio, bongo, tumbadoras, panderetas, maracas, vocals (1, 3), backing vocals
- Claudio Parra / piano, organ, chinchecordio, xylophone, rasca de metal, maracas, backing vocals
- Gabriel Parra / drums, percussion, vocals (1), pandereta, trutruca, backing vocals

Guest musicians:
- Freddie Anrique / flute (6)
- Kena, Chinchilla, Alvaro, Amancay, Carmen, Freddy / choir of friends (9)
- Anonymous musicians / violin (9, 10), vocals (10)

"Palomita Blanca" was originally the soundtrack of a movie directed by Raoul Ruiz. The Andean's traditional influences which deeply animate "Todos Juntos" let the place to something closer to psychedelic rock experiences but always putting to the fore acoustic elements. Today it sounds a bit dated and largely impregnated by "hippie" naiveties. The musical selection offers a lot of soft, detached piano sequences, dialoguing with mini moog vibrations and acoustic / electric guitars alternating passages. This isn't really progressive but it contains its amazing moments as in the epic tune "Piedra Hora". Otherwise, nothing special. I presume that it just remains an interesting discover for true fans.

Los Jaivas - 1972 - La Ventana (Todos Juntos)

Los Jaivas
La Ventana (Todos Juntos)

01. Marcha Al Interior Del Espíritu (2:28)
02. Todos Juntos (5:52)
03. Mira Niñita (6:57)
04. Los Caminos Que Se Abren (9:40)
05. Indio Hermano (6:10)
06. Ayer Cache (4:25)
07. La Quebrá' Del Ají (4:43)
08. Corre Que Te Pillo (4:37)
09. Cuero Y Piel (5:13)
10. Ciclo Vital (10:03)
11. El Pasillo Del Cóndor (0:25)

- Gato Alquinta / vocals, electric guitar, bass, acoustic guitar, "charango", flute, "tarka y tumbadoras"
- Mario Mutis / bass, electric guitar, acoustic guitar, "tarka", "tambores" and voices
- Gabriel Parra / drums, percussion, voices
- Claudio Parra / piano, celesta, ''rasca de metal'', maracas, triangle, backing vocals
- Eduardo Parra / organ, and piano, bongo, ''pandereta'', ''tumbadoras'', ''cultrum'', backing vocals

Guest musicians:
- Patricio Castillo / charango (2, 3, 5), acoustic guitar (3), ''guitarrón'' (7);
- Julio Numhauser, Tito Ibarra / vocals (6)
- Eduardo Sienkewic, Augusto Hemándes / cellos (4)
- Iván Cazabón / contrabass (4)
- Oscar Sandoval, Sofia González, Victor Schiegel / violas (4)
- José Ramirez / violin (4)
- Ramón Silva, Gilberto Silva / trumpets (4)
- Alfredo Jarpa / tarka (4)
- Niňo y Patria Choir directed by Jorge Reese / vocals (1)

 In terms of prog-rock sophistication, this wonderful 1972 album is not the best place to start investigating Los Jaivas, but it is the most important album of Los Jaivas' earliest and folkiest phase. Here we see the early fusion of psychedelic rock with bona fide Andean music. While some songs are merely good, and others intriguing, it is the brilliant title track that happens to be my all time favourite Spanish language song.

I can't tell you the emotions that run through me as I hear Gato Alquinta intonate the opening words of this majestic call for peace and unity, this song gets me right the way through to the passionate conclusion ... "Para qué vivir tan separados, si la tierra nos quiere juntar, si este mundo es uno y para todos, todos juntos vamos a vivir" which doesn't translate quite as poetically (roughly "Why do we live so far apart, if the world wants to unite us, if this world is one and for all for us, we will all live together). To me it is breath-taking ... and heart-breaking. Especially when one considers the unique time of this record, made in 1972 in Salvador Allende's socialist Chile, a world that would be destroyed a year earlier by the Pinochet/CIA coup. Musically the Todos Juntos track is a pleasing, albeit pretty basic fusion of quena, ocarina and charango (Andean flutes and mandolin respectively), fiery acidic lead guitar and Latin percussion, but lyrically, melodically, spirtually, this track is an unforgetable anthem.

The song itself is the greatest highlight of an engaging albeit simplistic album. The opening song is a hymnal chant of peace, Mira Ninita is a delicate sweet tune that takes its out sweet time to evolve beyond its languid, marimba-dominated opening into a joyous celebration. The same description can be applied to Indio Hermano which if anything, is even more beautiful, starting off in pure traditonal Andean vein (and what a great melody it boasts) before evolving into something more. The lilting Ayer Cache is another one, although it is "Spanish-influenced) where Indio Hermano was so obviously the music of South America's true natives.

Another thing that defines this album are the extravagant percussion interludes (bombo, bongo, you name it, they play it!). Los Caminos Que Se Abren is probably the most interesting track from a progressive point of view (probably the best realisation of the sort of improvisational psychedelic music that the band played on its debut ... the limited edition En Volantin ) and it too is full of traditional percussion as well as hypnotic Eastern sounding themes, vibrant violin and out of tune psych guitar ... although it definitely goes on too long. The urgent call that is La Quebra Del Aji contains many of the same ingredients but is better-paced, while Cuerro Y Piel contains the best percussive work of all (not sure how much of it is just drummer Gabriel Parra!)

There are a few different versions of this album (which I believe was initially released as La Ventana and retitled when Todos Juntos became a hit) and unfortunately mine omits Ciclo Vital ... do get the full one if you can! I must repeat my earlier statement that this album is not about progressive sophistication ... that will come later with Cancion Del Sur, La Alturas De Macchu Picchu and Obras De Violetta Parra. This album has immense passion, an almost fiery hope and in retrospect, a sense of historical importance (that goes way beyond music) that makes it an esssential purchase in my opinion. ...

Los Jaivas - 1971 - Los Jaivas (El Volantin)

Los Jaivas 
Los Jaivas (El Volantin)

01. Cacho (5:44)
02. La Vaquita (7:11)
03. Por Veinticinco Empaná (3:00)
04. Tamborcito De Milagro (4:00)
05. Que O La Tumba Serás (3:22)
06. Foto De Primera Comunión (6:34)
07. Ultimo Día (8:26)
08. Bolerito (0:25)

- Gato Alquinta / lead and backing vocals, electric and acoustic guitars, recorder, ocarina, tumbadora
- Mario Mutis / bass, vocals, acoustic guitar, recorder, tarka, tumbadora, tambotcito de milagro, pandereta
- Eduardo Parra / organ, bongo, kultrum, xylophone, backing vocals
- Claudio Parra / piano, güiro, rasca de metal, pandereta, maracas, tambotcito, backing vocals
- Gabriel Parra / drums, tumbadora, kultrum, caja, maracas, cacho, trutruca, piano introdaction, vocals (2), backing vocals

Guest musicians:
- Geraldo Vandré / vocals (8)
- Monks of Abadia del Viejo Mundo / bells (6)

This band from Chile is one of the most interesting blends of folk and symphonic rock. The band featured Claudio Parra, Gabriel Parra, Gato Alquinta, Eduardo Parra and Mario Mutis (this line-up is from the LP "Cancion Del Sur"), they are playing many instruments including the ethnic tutruka, charanjo, tarka, tumbadore, bongo and maracas. In '73 the legal government was overthrown very bloody by a new, 'CIA sponsored' militarian dictatorship and Los JAIVAS had to flight. They first went to Argentina and then to France. In the Seventies en Eighties Los JAIVAS made a serie of LP's, recorded in all aforementioned countries. They gradually incorporated more progressive elements into their rock and folk based sound. Eventually Los JAIVAS developped a very unique sound that is hard to compare with known progrock bands. Perhaps you could say "Los Incas meet Mike OLDFIELD"? On their own site I read that Los JAIVAS released the live-CD "Los Jaivas: en vivo Chile" '88 and in '97 they made a record with many friends (like the band Congreso) entitled "Trilogia: El Reencuentro".

In general the album "Cancion Del Sur" from '77 is considered as a great effort. It sounds very progressive (native South-American instruments and flute along electric guitar and synthesizers) but I prefer the more mature and symphonic album "Alturas de Machu Picchu" from '81, featuring Nobel prize winning poet Pablo Neruda, responsible for the lyrics. Highlight is "La Poderosa Muerte", a melodic and harmonic composition (around 12 minutes) that starts with the typical sound of the panflute and melancholic piano notes, very beautiful and moving, followed by emotional Spanish vocals. The build up is magnificent with propulsive drums and sparkling piano play, soon accompanied by a fat sounding synthesizer and fiery electric guitar. The dramatic atmosphere is emphasized by pathetic vocal harmonies. The moods keep on shifting with lots of (ethnic) instruments, a very emotional experience and a fine proove that progrock has emotion!

I can now see why Pinochet’s dictatorship was scared of this album (and group). This is a long way from the measured progressive rock of  “Alturas de Machu Picchu” that would arrive a decade later. “El Volantin” is what I would call freak rock, maybe along the lines of Denmark’s Furekaaben commune or even the political wing of Amon Duul. Most of the material is tribal drumming with wild vocals chanted or screamed on top, not very well recorded either. There’s some indigenous acoustic guitar strumming and pan flute so you don’t forget this is indeed a band of the Andes. The last track is really something – with wild fuzz guitar and frantic vocals. The whole thing is a mess… had it come out today I wouldn’t be impressed at all (fake counterculture doesn’t work for me). But for the time and place, this just reeks of the real underground – you can feel it.