(Self-released)
The Aymara musician takes inspiration from an Andean tradition, resulting in a scrappy sonic meditation with woozy melodies and pockets of warmth
The new album from Joshua Chuquimia Crampton takes its name from the Andean ceremony Anata, which gives thanks for the harvest before the rainy season. Made up of seven dense and distorted instrumentals, the record is the California-based Aymara musician’s attempt at capturing the energy of ceremonial music – not some rosy, polished version, but how it might sound recorded on a phone, clipping and all.
The concept might sound bizarre, but for fans of JCC, it makes total sense. His music, often self-released and proudly unmastered, is characterised by its murky textures and amp-blasting volume. He took this rudimentary approach to the max with last year’s collaborative project Los Thuthanaka, alongside his sibling Chuquimamani-Condori, which was splattered with cartoonish vocal samples, whistles and syncopated rhythms. Here he returns to his solo formula, with just guitar, bass and a few Andean instruments. You’d call it stripped-back if it wasn’t so noisy.
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