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Photo Credit: Todd Leroy
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Long before synth-pop became a retro revival, Pseudo Echo were electrifying Australian airwaves with a sound that fused shimmering synths, rock attitude, and unapologetic style. Formed in Melbourne in 1982, the band was co-founded by guitarist and vocalist Brian Canham, whose blend of pop melody and guitar finesse brought a unique edge to the genre.
Their debut album, "Autumnal Park" (1984), introduced hits like "Listening" and "A Beat for You", firmly establishing the group as pioneers in Australia’s new wave movement. But Pseudo Echo wasn’t just about keyboards and fashion—they were one of the few synth-driven bands where the guitar remained central. Canham’s atmospheric riffs and textured chords helped bridge the gap between synth-pop and rock, adding depth and drive to their electronic foundation.
Their sophomore effort, "Love an Adventure" (1985), pushed them onto the international stage, thanks to their explosive reimagining of Lipps Inc.'s “Funky Town.” That track didn't just dominate charts—it showcased Canham’s clever guitar layering beneath the pulsing synths, proving that six-strings still had a place in the dance-pop world.
After disbanding in 1989, Pseudo Echo returned in the late '90s with a renewed sense of purpose. Over the decades, they’ve released albums like "Ultraviolet" and "After Party," staying true to their roots while evolving with the times. Today, Brian Canham remains the creative heartbeat of the band—continuing to write, produce, and tour while inspiring a new wave of guitarists who understand that tone and texture matter just as much as speed and flash.
For readers of Guitar Thrills Magazine, Pseudo Echo serves as a reminder that guitar-driven innovation doesn’t always come in a leather-jacketed rock package—it can wear a trench coat, plug into a chorus pedal, and groove to an electronic beat.
When the world was falling head over heels for drum machines and keyboards, Pseudo Echo dared to let the guitar sing through the static. Emerging from Melbourne’s early ‘80s music scene, the band—fronted by the multi-talented Brian Canham—crafted a sound that was equal parts neon-lit synth-pop and guitar-textured glam rock.
Their breakout album, "Autumnal Park" (1984), didn’t just ride the wave of the New Romantic era—it helped define it in Australia. Songs like “Listening” and “A Beat for You” caught on with their catchy hooks and layered arrangements. But for guitarists, what set Pseudo Echo apart was how Canham’s riffs weren’t buried under the synths—they intertwined with them.
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By 1985, the band doubled down on infectious groove with “Love an Adventure”, giving us their legendary, chart-shaking take on “Funky Town”. Underneath the sequenced rhythms and synth arpeggios? A perfectly crafted guitar line that added rawness and bite to an otherwise glossy track. The guitars didn’t just support the sound—they gave it weight.
Even now, Pseudo Echo continues to tour, deliver polished studio work, and hold a special place in the hearts of fans who appreciate the blend of analog attitude and digital detail. For Canham, the guitar has never been an afterthought—it’s always been the secret ingredient that grounds their sound in something real.
“In a world full of sequencers and synth pads, the guitar gives the song a spine,” says Canham.
“You can wash it in reverb or delay, but it still carries the human element—the imperfection that makes the music breathe.”” roots.
Brian Canham’s Gear Talk – Tone Behind the Echo
Guitars:
Live Setup Today:
Brian incorporates hybrid digital rigs, including Line 6 Helix and Kemper Profiler, to replicate both vintage and modern tones while staying portable for global touring.
INTERVIEW WITH BRIAN CANHAM AND GUITAR THRILLS MAGAZINE
Guitar Thrills: First off, congratulations on 40 years of Pseudo Echo! When you started the band in 1982, did you ever imagine it would still be going strong in 2025?
Brian: I thought I was on the path to my destiny and had always thought this was what I was meant to do, there was no real alternate plan, so i just kept going, and I’m still going.
Guitar Thrills: Looking back at your debut album Autumnal Park, how do you feel your songwriting and guitar work have evolved over the years?
Brian: When I did that record, I was in my early twenties. My musical knowledge, and ability on guitar was limited, but my imagination was vast. I have explored music greatly since then and expanded my knowledge and taste. I would say the evolution of both songwriting and guitar playing has been considerable, that said, for the knowledge and limited experience I had back then, I’m actually quite impressed.
Guitar Thrills: Pseudo Echo were among the first Aussie bands to blend synth-pop with real guitar presence. How intentional was that approach early on, and do you still see the guitar as a core part of the band’s sound?
Brian: Due to the trend at the time in electronic music, I watered down all my guitar parts and it’s prominence, making way for synth lines. As the eighties progressed, so did the re-acceptance of seventies-style rock guitar, evident on songs like Living in a Dream, Funky Town, and of course our Race album. These days the prominence of guitar, especially with the addition of a second guitarist, stands side by side with the synths.
Guitar Thrills: You’ve redefined what it means to be a guitarist in a synth-heavy band. What tone-shaping techniques or gear helped you carve that space within your songs?
Brian: Since I was a guitarist/vocalist, I pretty much just gave myself something to do rather than stylistically fitting guitar in, sometimes leaving guitar out altogether. Tones at the time, ranged from clean chorus sounds with lots of delay, to raw distorted edgy parts, often drawing on influences like Midge Ure (Ultravox) and Charles Burchill (Simple Minds) as the extremes, and later taking more influence from my own earlier childhood seventies rock style.
Guitar Thrills: As a band that’s seen massive shifts in the music industry—from vinyl to streaming—how has your creative process adapted across decades?
Brian: These days I am not answerable for the product I release. I don’t have to change any parts, shorten any songs, or constantly repeat small phrases to appease a record company or radio demands. So, for me it is a much more fulfilling experience.
Guitar Thrills: From "Listening" to "Ultraviolet", your music has spanned styles while keeping a signature sound. What do you think has anchored Pseudo Echo's identity all these years?
Brian: Most likely my singing style and taste in synth parts, as well as my taste in drumming.
Guitar Thrills: You’ve recently added Andrea Krakovska to the lineup. What drew you to bring her into the band, and how has she influenced Pseudo Echo’s dynamic, both onstage and in the studio?
Brian: We initially introduced a second guitarist, more by default than choice. As playing Bass on Keytar was a bit shakey at times, I opted to have the Bass Synth parts played back on conventional keyboard, which left one of my members without a job, so I created one for him, basically just doubling up my parts and coming up with a few additional layers. However, Andrea was just filling in, but did such an amazing job, and was a natural performer on stage. Things had been wearing a bit thin with some past members, so I offered Andrea a permanent gig with Pseuds, and have never looked back since. Andrea can replicate any part I throw at her and come up with some gems of her own. I often feel that she doesn’t get to shine as much as she could with her playing, hence I’m planning on giving her more substantial parts, solos etc.
As far as studio, that’s pretty much a one man show for me.
Guitar Thrills: Let’s talk legacy—what’s been the most surreal or proudest moment of your 40-year journey with Pseudo Echo?
Brian: For me personally it was a pretty big moment and a great surprise when I took out Australia’s Most Popular Male Performer, and Pseudo Echo itself taking out the award for Australia’s Most Popular Band. And of course, having an international hit with Funky Town. I still have to pinch myself over that, but with great pride.
Guitar Thrills: You’ve always had a strong visual identity—fashion, music videos, and stage presence. How important is the look of the band to the experience of Pseudo Echo?
Brian: It is of utmost importance. When I see a band, I don’t just want them to play songs and sound well, I want them to look good too, equally as good as the music they produce, hence my motto for Pseudo Echo: sound good, look good, be good.
Guitar Thrills: If you could go back and give 1982 Brian one piece of advice—musical or otherwise—what would it be?
Brian: Any advice I would tell my twenty-year-old self, would be to learn about human psychology. That will answer everything.
Guitar Thrills: You’ve kept Pseudo Echo relevant through reinvention and resilience. What does the future hold? Any hints on upcoming music, reissues, or collaborations?
Brian: I am currently working on the Machine Remixes album, which is one of the most fulfilling projects I’ve done to date (and is about halfway through), due for release at the end of the year.
Also, I’ve been writing a book over the past ten years or so, though there have been a few curveballs along the way, but I am coming to terms with a different outcome which will reflect in the book when I eventually finish it.
Guitar Thrills: And finally, what do you hope new fans—and even longtime followers—take away from Pseudo Echo’s 40th anniversary celebrations?
Brian: I hope they can experience the personal journey I have had and can perhaps relate to it personally themselves.
Concluding Thoughts
As Pseudo Echo celebrates four decades of sonic innovation, it's clear that Brian Canham’s vision has never wavered. What began as a bold experiment in fusing synth-pop with guitar grit has evolved into a lasting legacy—one built on reinvention, resilience, and an unshakable love for music. With a fresh lineup, renewed energy, and a global fanbase that spans generations, Pseudo Echo isn’t just a band with history—they're a band still making it. For Canham, the guitar remains both a compass and a voice, leading the charge into the future while echoing the spirit of everything that came before.
