Declarations of undying affection, comparisons to a summer’s day? Who needs ‘em! Our writers recall the offbeat songs that capture their hearts

By Easter 2004, I’d been in a relationship with my partner, Maria, for four months and I was just realising how deeply in love I was. We had become inseparable. A magazine sent me to the ATP festival at Pontins in Camber Sands to interview “the Beastie Boys of noise”, Wolf Eyes. The interview fell to pieces when the band, in a state of great psychic refreshment, all wearing Manowar T-shirts, refused to stop watching a Manowar DVD and signalled they would only answer questions if they related to Manowar.

(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.