After approaching Robyn Hitchcock’s back catalogue via “Invisible Hitchcock”, it’s been plain sailing ever since. That particular out-takes compilation is so sprawling in its own unique brand of diverse schizophrenia, with all kinds of off-the-wall aural sketches podding off at random, that “Underwater Moonlight” seemed so straight forward. The thing is, it actually is. It’s just good honest psychedelic pop music in all of the finest traditions.

A big influence at the time and since on all kinds of American college bands, not least REM, Pavement and Yo La Tengo, “Underwater Moonlight” is a text book example of that old chesnut the “best kept secret”. It really is. If you meet another person who owns this LP it’s like a spiritual gathering has just convened. An unspoken call has gone out and here you are, two like minds basking in a tangible, electric glow. Once you come under the spell of this album, you can’t escape it and everyone else that owns it is part of your flesh.

Opener “I Wanna Destroy You” and sitar-fused “Positive Vibrations” seem to be half olive-branches to the Indie scene of the time and half classic 60s garage, though with Japanese fuzz boxes. “Kingdom Of Love” is one of Hitchcock’s truly great songs, a beast of a riff rampaging across rock’s skyline in search of human brains. “Old Pervert” is a structural orgasm, great streams of melodies precariously overlapping with each other, like Beefheart and Lennon playing kerplunk. “Queen Of Eyes” is a marvellous Byrds-like two minute gem and “Insanely Jealous” is possibly the finest ode to paranoia written in the last 25 years. The title track is a delight … Fairport Convention jamming with Syd’s Floyd, all jaw-droppingly underpinned with the most visually emotive lyrics you can imagine. Statues, Squid, Museums, Ocean-floor eco-systems and Octagenarians all converge within these four minutes.

Recently reissued with a whole extra CD of rehearsal tapes, “Underwater Moonlight” is, along with “I Often Dream Of Trains” and “Eye”, one of Robyn Hitchcock’s finest moments. Not only that, it’s one of the finest British indie LPs ever made. I was 24 when I first heard it and I wept like a wounded child.

With Fondness,

Gareth.