Veronik’s Anomala is a remarkable album in a number of ways. First, it’s not likely you’ll hear many other blissful French-Peruvian psychedelic rock albums this year.

Second, it’s a genuine sleeper success: originally self-released in Peru in 2017, it has created delight wherever it’s heard, with the word-of-mouth leading to this expanded global release and vinyl pressing.

And third, it’s a reminder of the power of the century-old early electronic instrument, the theremin.

Veronik is a recent convert to the idiosyncratic instrument – this is the first record she’s made incorporating it after two albums of more straightforwardly guitar based albums – but she’s dedicated herself to it.

She teaches both the history and practice of the theremin in Lima, and on Anomala she makes its strange, gliding melodies absolutely key to the character of her sound.

The theremin has always appealed to those who want an eeriness or quirkiness to their sound. Played by waving hands in the air, its note quiver and waver, and can be made to swoop from high to low and back in an instant.

Although it was used in serious music by the likes of Shostakovich, it really came into its own in Hollywood films where it was used as a signifier for outer space or spooky suspense.

Ever since then – from the Beach Boys Brian Wilson to Matt Bellamy of Muse, and from Brian Jones of the Rolling Stones to Erykah Badu and Goldfrapp – it’s been favoured by musical eccentrics and explorers. But somehow its pure tone provides a binding thread of shared character between the most radically diverse of music.

So, although our theremin playlist that we’ve put together to celebrate Anomala’s release is one of the most eclectic we’ve ever done, it works.

Over two hours you can hear Hitchcock soundtracks and dub reggae, easy listening and the full on rock of Muse, Pixies and Ghost.

There’s vintage psychedelia from Captain Beefheart, the Stones and The Zombies, and exquisite grooves from Portishead and Badu. But through it all, like a signal from another time, is that magic theremin tone. 

Hit play and you’ll see just why people like Veronik get so seduced by it they’ll dedicate their lives to this strange piece of circuitry.

Cover Credit: Jorge Luis Chamorro

Writer | Joe Muggs

Joe Muggs is a writer, DJ and curator of many years standing, covering both mainstream and underground. His book 'Bass, Mids, Tops', covering decades of UK bass music, is out now via Strange Attractor / MIT Press, and you can subscribe to his newsletter at tinyletter.com/joemuggs.