Friday Full-Length: We Here Now, The Chikipunk Years
It’s not an easy record. And you should know that the version above isn’t the whole thing. We Here Now‘s The Chikipunk Years (discussed here), issued in 2019 through Elektrohasch Schallplatten and Homemade Gifts Music runs 10 tracks on its physical editions; LP, CD, tape. The digital version, which I bought from Bandcamp ahead of writing this with Obelisk merch money — thank you for your support — has seven tracks, leaving out “Angelus Novus,” “Parambulation” and “Clearings.” The stream from the same page is only four songs, and I’m pretty sure that’s the version on YouTube you’ll find that only runs 10 minutes as opposed to the complete album’s 32 minutes. It’s a problem I solved by going upstairs and getting the CD, but if you listen above, know you’re getting a sampler rather than the entirety. ‘Friday Full-Length’ indeed.
The Chikipunk Years came up this week as Elektrohasch — the long-running imprint helmed by Colour Haze guitarist/vocalist Stefan Koglek — announced it was basically shutting down for everything other than that band’s own releases and reissues of past work. A genuine bummer, but well within Koglek‘s rights. What was We Here Now‘s debut and seems like it probably won’t get a follow-up anytime soon (I wouldn’t mind being wrong) was mentioned specifically as an example of an outing the label thought was great that didn’t meet with customers’ desires: “With my last new artists – We Here Now, Public Animal, Carpet, Saturnia… – my taste apparently didn‘t meet yours. That especially such a great, stylistically independent album like We Here Now, The Chikipunk Years — a group apart from the usual European/North American origin — was sold just 60 times made me think.”
That number 60 made me think too, honestly, and it seemed like a fitting occasion to revisit The Chikipunk Years and find out what happened. In terms of sales, well, the band operated under the group moniker of Un Chiquitino, which is another word for ‘Chikipunk,’ which itself is slang for Latin and South American kids trying to sell gum to rich gringo tourists. A pretty obscure reference, maybe, and the gap-toothed smiling kid on the front cover is adorable, but god damn teeth are gross. There’s that little flap of the top gums sticking out there and even looking at it makes my skin crawl. Nothing against the kid, of course, just my own hangup, but still. I feel like I’m about to fall into that space and be lost forever.
Even if that’s not a barrier to entry, the music itself across the 10 tracks is wildly dense. Also just wild. And it’s easy to get the appeal that hooked Koglek on it to start with, since the songs take fuzz and psychedelic rocks and blends it with West African and South American rhythms, dub sampling and cumbia-style psych, classic rock — “Planes of Inmanence” near the record’s middle sounds like if The Beatles made Revolver in the Andes; not a complaint — and more besides. You could sit and
pick apart the snare shuffle alone in post-intro leadoff “Gathering and Separation” for a month, let alone the intended-to-move percussion that surrounds, and one song later, “Angelus Novus” arrives a completely drumless stretch of mellow guitar and keys.
We Here Now was an almost maddeningly inventive outfit. Comprised of Pedro “Sozinho” Salvador from Brazil’s Necro, Queen Elephantine‘s Indrayudh Shome who I believe was operating out of the Northeast US at the time (don’t quote me on that; dude gets around), and Peruvian drummer Panchito Fr. Sofista, whose mere association with Montibus Communitas makes him the stuff of legend in my mind, they were perhaps ahead of their time in functioning remotely, but in the reality of bands promoting their own work on social media, ‘It’s been two weeks since we released this album what’s your favorite song?’ etc.-style engagement, there was none of that. Not every act does that, and not every act needs to or wants to pander, which I can understand, but some definitely do, and I doubt it would happen if it didn’t at least push some sales.
The record is also a lot of fun, mind you. That sample about perfection in “Gathering and Separation” right before the solo is humorous and perfectly timed. The insistent fuzz shuffle of “Frontiers and Determinations” on side B, the dizzying for-a-walkness of the penultimate “Parambulation” and the subsequent, also-instrumental closer “Clearings” are both impressive in the doing on the part of the band and engaging in their intricacy. The Chikipunk Years challenges the listener to keep up with it, but makes that process a joy from the 95-second “Sojourns” onward. It is entirely cohesive within itself and yet a song like “Dukkha” knows no real microgenre boundaries, drawing from across a multifaceted sonic experientialism and creating something new from it.
Isn’t that the ideal? So, 60 copies? Maybe some records are destined to be cult favorites, and for being clean in its tone and delivery, clear in its exploratory purpose and progressive and thoughtful in its construction, The Chikipunk Years is nonetheless a head-spinner, and that doesn’t necessarily make it more accessible to a mass listenership. It’s also worth noting that in 2019, the similarly-named Los Angeles-based troupe Here Lies Man had released two albums, and worked in a more grounded aesthetic pursuing Afrobeat and heavy vibes in a way that some of We Here Now‘s material also seemed to do, with more promotion and touring behind them. So maybe We Here Now just kind of got lost in the shuffle.
The makings of a future classic? The kind of album that’ll be reissued in another 20 years and leave its audience scratching its collective head as to why it wasn’t huge at the time? Maybe. Who knows? It may go down as the last non-Colour Haze record on Elektrohasch — I don’t know that either, mind you — and that alone is a legacy worthy of the kind of trivia contest that happens basically nowhere, but given that The Chikipunk Years is so much in its own sphere aesthetically and so dug into its intent, it’s a process of meeting the band where they are rather than the kind of situation where they come to you. That’s the challenge. The thing that apparently remains undiscovered about We Here Now‘s lone offering to-date is how much it’s completely worth that effort.
—
It’s 5:23AM. I just put up the first post of the day, which this will follow in a few hours, and the kid’s been down here since 4:55AM. The Patient Mrs. has been away since Wednesday at a conference and will be back I think tomorrow night after he goes to bed. He misses her and was expressing it yesterday after school by being a complete asshole. Can’t imagine where he possibly ever learned to do that.
Ups and downs, then. Big fucking change.
I found out this week that Creem Magazine is cutting out digital columns as part of a ‘restructuring’ happening apparently across the board. That’s a bit of money I’ll miss. Since the piece I turned in about King Buffalo didn’t make it into the print issue either, I’m kind of assuming that means my association with whatever Creem becomes is over. Nice while it lasted, but I’ve been a part of magazine rollouts and refreshes before and that’s how it goes. Everybody’s very excited at the start and then the reality becomes something different. I’m sure the t-shirts are selling well though. Anyway, I’ve got one more Creem column and that’s it. Back to my corner of the internet I go, grateful for the opportunity I had and probably blew.
I guess that sucks. I could go on but frankly see no point in it. All the best to Creem and sincere thanks to Fred Pessaro for bringing me on board.
Still got the Gimme show though. That’s 5PM Eastern today: http://gimmemetal.com. Thanks if you listen.
Burnt out, tired of bullshit. So perfect time for a Quarterly Review, right? That starts next week. 100 records again. Could easily be 150, but won’t be.
Alright, that’s my last plug. I’ll actually get started on that QR today and over the weekend in the maybe-an-hour-if-I’m-lucky that wakong up at 4AM buys me before the kid is awake, so will be around. I hope you have a great and safe weekend.
Thanks for reading. FRM.
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Tags: Brazil, Elektrohasch Schallplatten, Homemade Gifts Music, India, Peru, The Chikipunk Years, We Here Now, We Here Now The Chikipunk Years
Yeesh, Creem just relaunched and they are already restructuring? Think they should have lowered the 1-yr subscription to the magazine. $80 for 4 issues per year is a little steep.
I enjoyed the Chikipunk Years album, i’m surprised more ppl didn’t feel the same way.
“I’m sure the t-shirts are selling well though.”
I enjoyed that tasty zing, the type of spicy truth morsel my palate finds to be quite savory…kinda like if everyone who bought a MISFITS shirt bought a MISFITS album, The ‘Zig could be living in the Dracula castle he so richly deserves…or at least have some ample acreage on which to store his bricks in peace.
Nah man, don’t mistake me. I respect anyone who decides to throw in and start a rock mag in 2022, especially in America. That line was more about the audience than Creem itself.
Can’t wait for the new QR!
I had the pleasure of Stefan giving me a hint via Facebook Messenger and bought the vinyl without thinking about it.
It’s one of those records I like spinning while having friends for an evening, and which at the same time has a place in the playlist for long party nights.
Hey JJ, just a few corrections:
1) “Chikipunk” was a term coined in the late 2000’s which referred to elementary school kids who would skate, wear their hats backwards, and listen to bands like Blink 182, Green Day, etc. “Chiki” means “litlle” here, not kids who sell gum to rich gringos hahaha!! Chikipunk is just just a reference (not too obscure I hope) to those kids’ “punk”, as the music was thought to be a bit chilidsh.
2) “Un chiquitino” also just means “A little one”, as in “a little kid” or “a kiddo”, not gum seller haha. I think they’re just emphasizing the whole playful/child-ish thing of their music.
3) I heard the record was entirely made by one of them (I’m assuming the cheeky sneaky one who loves using pseudonyms?). They were suppose to meet and become a “real” band by touring EU on early 2020 but covid happened and their plans got ruined. I guess all this adds to the whole “lost cult masterpiece” mystic aura surrounding the album haha. Cheers!