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BR 119LP
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IMA is percussionist and improviser Nava Dunkelman (Japan) and electroacoustic composer and sound artist Amma Ateria (Hong Kong). IMA depicts expressionistic noise music of Japanese poetry by deconstructing and dissolving heavy music through restraint and release. The Flowers Die In Burning Fire, the debut album of IMA, tells an anecdote of the inevitable notion of time, change, decay, the vanished, and rebirth. With meticulous, industrial, and filmic instrumentation, IMA marches forth with starkness and surrender into the aftermath of destruction, and attempt for transformative regeneration of beauty through catalysts of pleasure.
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BR 128EP
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Salón Dadá was a Peruvian post-punk band made up of Támira Bassallo, Jaime de Lama, and Juan Huamán Hoover, active in the Lima underground movement of the '80s, known as rock subterráneo. They left no official recordings, but at the end of 1986, they did record a four-track rehearsal which began to circulate as an unofficial demo, becoming a classic of the period. Ensayo 1986 (Rehearsal 1986) is now published for the first time on vinyl. Presented as a 7" EP, this new addition to the Essential Sounds collection is a companion to the Salón Dadá/Col Corazón LP Lo Que No Existe, Existe: Registros De Una Saga Post Punk En El Perú (1986-1990) (BR 116LP, 2019) which collects live recordings. Pink vinyl.
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BR 116LP
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Salón Dadá and Col Corazón were two bands led by Támira Bassallo and Jaime de Lama, active between 1986 and 1990. They emerged in Lima, in the context of the hardcore punk movement known as rock subterráneo. They distinguished themselves by their sound experimentation and their unconventional song structures, which led them from the stridency of noise rock to the use of Andean sonorities. In this sense, they were able to assimilate the innovative spirit of post-punk and became the most representative saga of this sound in Peru. And although they did not leave official recordings, the cult around them has been increasing over time. Lo Que No Existe, Existe: Registros De Una Saga Post Punk En El Peru (1986-1990) compiles a series of recordings from various sources, including rehearsals and live takes, presented for the first time in vinyl format, with substantial visual documentation, and extensive liner notes telling the story of the group. This release allows one to approach the sound and universe of what was one of the most beloved, respected, and innovative groups of rock subterráneo, one of the best-kept secrets of the Peruvian scene. This project is part of the Essential Sounds collection, with which Buh Records presents a series of fundamental works of the Peruvian musical avant-garde.
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BR 117LP
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The work of Jorge Eduardo Eielson (Lima 1924 - Milán 2006) in the fields of visual and sound poetry has been conspicuously absent from the international anthologies pertaining to these disciplines. One of the reasons of this absence may be the limited circulation of this side of his broad and complex output as a poet and visual artist. In the past few years, though, this aspect of his work has become better known, and can now be seen, in its own right, as a valuable contribution to the development of experimental poetry. Jorge Eduardo Eielson called "vocal structures" or "audiopaintings" his experiments in vocal poetry, which were all based on combinatorial analysis and permutations. Of these experiments carried out over a period of five years (1972-1977), only one has remained, and its author has presented it on several public and private occasions, both in its recorded form as well as in live performances. It is the piece called Colores [Colors], which is based on the repetition of words that name colors: red, yellow, green, blue; each word has a different tonality. Colores is derived from the permutation of four word-tones, a work inspired by both serialist composition and conceptualism. Audiopaintings: Verbal Structures for Voice (1972) presents for the first time on vinyl the full version of Colores and adds a live recording of the piece performed in 1998. This album is published by Buh Records with the support of Proyecto AMIL, who have joined efforts to develop a collection dedicated to presenting fundamental Peruvian works that operate at the borders of visual arts and sound. The publication also includes a booklet with extensive liner notes by Luis Alvarado, with information on several dimensions of Eielson's relationship with sound poetry, thus becoming a reference album for scholars and collections on the art of voice and sound poetry.
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BR 127LP
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Apophenia by Ale Hop, suggests possible and reimagined South American geographies. Along with atomized field recordings and sound samples she recollected from video archives from her homeland, Peru, the composer interweaves unknown territories by mimicking mountains and oceans, but also grey skies and violent cities, with droning and shrieking textures of electric guitars mixed with spoken chatters and sizzles. The LP is accompanied by two black-and-white images from the Peruvian photographer Gihan Tubbeh that withhold the same poetic nature of the music through visual rhymes expressed on fragments of landscapes.
Ale Hop is a Berlin-based artist, researcher, and experimental instrumentalist from Peru. She composes electronic music, by blending strains of noise, pop, avant-garde, ambient, and a complex repertoire of extended techniques for electric guitar and real time sampling devices that she uses as her sound vocabulary to craft a performance of astonishing physical intensity, saturated of layers of distortion and stunning atmospheres. Additionally, in her current A/V performance, Ale Hop assembles soundscapes that are related to the contradictory memories she keeps from Peru, from the violence and turbulence that she grew up, in uncertain times in Lima, through contemplative territories.
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BR 114LP
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Julio Medrano Cotito has developed a very prolific career as a singer-songwriter and performer of the Peruvian cajón. He is one of the emblematic figures in the world of Afro-Peruvian music today and his name appears in many of the main fusion ensembles that have lead way in the exploration of black rhythms in Peru. Cotito has traveled around the world, sharing his music and knowledge of the cajón in schools and universities. Hechicero, his new album, and the second volume of the collection Perspectives on Afro-Peruvian Music, is an entry into the sources of the Afro tradition. It is a celebratory album, which invokes Manuel Vásquez, Eusebio Sirio, and Julio Algendones, the three great Peruvian cajoneros who are honored here in separate compositions based on the instrumental mixture of cajón, chekere, jawbone, cajita, bell, congas, bongo, guitar, and bass, in powerful and exuberant rhythmic interactions which makes up the essence of Cotito's style, and at the same time presents the genuine Afro-Peruvian sound: Festejo, Son de los Diablos, and Zamacueca. Produced by Manongo Mujica and Daniel Mujica.
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BR 098LP
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Buh Records present Synthexcess new album of Sajjra, project of Peruvian artist Chrs Galarreta. Synthexcess was recorded in Rotterdam and it is a collection of telluric, ethereal, unique, and unclassifiable songs. Sajjra's sounds can call forth the resonance of Andean brass orchestras or of sublime natural landscapes. They emanate textures and rhythms that evoke urban and rural soundscapes mutating in epiphanies full of noise, color, and trance. Artwork by Peruvian master graphic design Jonathan Castro.
Chrs Galarreta is one of the important figures of the South American experimental underground. Going back and forth from Europe to his homeland, he has been experimenting with noise in a strictly DIY way since 1995. This philosophy has led him to expand his abilities into realms such as harsh-pop songs, experimental music, installation art, software hacking, free improvisation, and electroacoustic compositions. He is a man with many aliases and side projects: Aloardi, DiosMeHaViolado, Evamuss, Chrs, Tica, and Invisible Architecture, among others. His song project Sajjra emerged from the depths of the Uku Pacha in 2012, merging psychedelic songs with Andean-tropical music and sound experimentation.
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2LP
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BR 120LP
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Interactions: A Guide to Swiss Underground Experimental Music, a double-LP compilation curated by Luis Alvarado and published by Buh Records, brings together 27 works by more than 30 artists from the current experimental music scene in Switzerland, in a variety of sounds, ranging from free improvisation, ambient, and industrial music, to synthesizer music, sound collage and more. It gives an account of the intense creative activity in the Swiss underground that runs through cities such as Zürich, Bern, Geneva, Lausanne, Basel, Biel, Chiasso, and Lucerne. This compilation includes works by Rudolf Eb.er, Martina Lussi, Papiro & Yanik Soland, Manuel Troller, Therminal C, JMO, Niton, Christian Müller, Flo Stoffner, Erb-Loriot-Morishige, Noijzu, Christian Kobi, Alvear-Bondi-d'incise, Julian Sartorius, Joke Lanz, Jason Kahn, Tout Bleu, Belia Winnewisser, Souharce, Laurent Güdel, Dave Phillips, Denis Rollet, Gilles Aubry, Jen Morris, Le Pot, Purpura, and Francisco Meirino. This project is part of Incidencias Sonoras: COINCIDENCIA experimental music and sound art platform, by the Swiss Arts Council Pro Helvetia.
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BR 121LP
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Buh Records present a new album by Peruvian composer and musician Miguel Flores. Lorca: Lost Tapes (1989-1991) recovers unpublished recordings made for stage works inspired by the life and work of the great Spanish playwright, Federico García Lorca. It is an atmospheric and minimalist album, where you'll find flamenco airs, Andean and Afro- Peruvian sounds, vocal experimentation, and various sound effects, all stitched together in a simple but creative studio montage, which turns these pieces into a dreamy landscape. A member of several rock bands in the Seventies, Flores began an intense period of sound experimentation towards the end of that decade, building a large archive that has remained unpublished. His experimental work became known internationally with the publication of Primitivo" (BR 068LP, 2015), which rescued unpublished recordings of 1983, only presented live at the time, and which represents a high point in the fascinating movement of Peruvian experimental music from the late Seventies and early Eighties, animated by such artists as Arturo Ruiz del Pozo, Manongo Mujica, and Luis David Aguilar. Andean and Amazonian sounds, ancestral evocations, coexisted with the instrumentation and musical resources of free improvisation, concrete and cosmic music. Lorca: Lost Tapes (1989-1991) is published for the first time, and in vinyl format, as part of the Essential Sounds collection, with which Buh Records presents a series of fundamental works of the Peruvian musical avant-garde.
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BR 108LP
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Jardín was made up of Orlando Ramírez and Raúl Gómez, and has been a true cult band of Lima's experimental underground since they made themselves known at the end of the 1990s, when they started playing at electronic music venues as well as in the context of art performances and contemporary dance events. Maqui De Hierro, their fourth published work, defined the sonic universe of the duo, in which electronic cosmic experimentation converges with hypnotic rhythmic patterns inspired by ritual percussion music from the Amazon, using console feedback processed by pedals, drum machines, and ocarinas. Jardín's work can be related to that of other great luminaries of rhythmic repetition such as Silver Apples, Suicide, Esplendor Geométrico, or Pansonic, a sound that finds in Maqui De Hierro a singular incarnation: metallic drum machines that lead the trance between echoes and layers of reverberant sounds, in a kind of rhythmic drone dub trip. Appeared in cassette format in 2005, Maqui De Hierro collects recordings of 2002 and 2003, made during intense and unforgettable concerts, as well as recorded sessions at the duo's private haven known as Cuarto Azul, located in an industrial zone of Lima. Recorded entirely live and direct to open reel tape, Maqui De Hierro is now published for the first time in vinyl format, as part of the Essential Sounds collection, with which Buh Records discloses a series of fundamental albums of Peruvian sound experimentation.
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BR 100LP
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Edgar Valcárcel (Puno, 1932-Lima, 2010) was one of the most important composers in Peru. He belonged to a crucial generation centered around the 1950s, which also included César Bolaños, Leopoldo La Rosa, Celso Garrido-Lecca, Enrique Pinilla, and Francisco Pulgar Vidal. These musicians were responsible for introducing locally the new languages of the international musical avant-garde, in a meeting with the legacies of Peruvian native music, where the folkloric material was used under very free and abstract conceptions. Although Valcárcel distinguished himself as a prolific and remarkable composer of orchestral and chamber music, as well as a notable pianist, his interest in electronic composition was registered in four pieces that are a good example of his musical obsessions. "Invención" (Invention) (1967), composed in Columbia under the watchful eyes of Vladimir Ussachevsky, represented an outstanding beginning in these new languages and can retrospectively be considered as one of the masterpieces that sprung from the New York research center. There he also began the composition of "Zampoña Sónica" (Sonic Zampoña) (1968-2006), a visionary work, initially designed for magnetic tape and flute, revised after his appointment at McGill University in 1976, until its final form in 2006, which was premiered in Lima in a version for native instruments processed live with the original electronic track. "Flor De Sancayo II: Retablo" (Flower of Sancayo II: Altarpiece) (1976) for piano and magnetic tape, was composed at the Electronic Music Studio of McGill University in Montreal, Canada, led by Alcides Lanza and where Valcárcel was appointed as a guest teacher. The work takes as a reference a huayno from the region of Puno in dialogue with electronic sounds. "Canto Coral A Túpac Amaru II" (Choral Song for Túpac Amaru II) (1968), for choir, percussion, projections, lights, and magnetic tape, a work based on the poem "Canto Coral A Túpac Amaru, Que Es La Libertad" (Choral Song for Túpac Amaru, who is Freedom) by the Peruvian poet Alejandro Romualdo, is inspired by the indigenous leader of the largest anti-colonial rebellion that occurred in Latin America during the eighteenth century. These pieces are now published on vinyl, as part of the Essentials Sounds collection, with which Buh Records presents a series of fundamental works of the musical avant-garde in Peru.
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BR 086LP
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For the first time on vinyl, Wandering The Outer Space marks a new period in the sound of the Acid Mothers Temple & The Melting Paraiso U.F.O., thanks to the incorporation of new members. Released on CD during the first South American tour of the Japanese masters of psychedelia, Wandering The Outer Space is released here on LP format. The band at the time of this recording were: Jyonson Tsu (voice, midnight whistler), Kawabata Makoto (guitar, bouzouki, fretless bass, organ, synthesizer, tapes, speed guru), Higashi Hiroshi (synthesizer, noodle god), Mitsuko Tabata (guitar, guitar-synthesizer, voice, kisses & hugs), Satoshima Nani (drums, another dimension), Wolf (bass, tapes, space and time), and Cotton Casino (voice, astral mama).
"Buh Records has injected kind of Krautrock-flavored exaggerated, sadistic, sexadelic speed addiction titled Wandering The Outer Space by legendary Japanese psychedelic rock band. Exactly as before, plenty of distorted, dissected guitar explosions by Makoto and Mitsuko (Mitsuru), violent, offensive, a tad gentle space-synthesizer blasters, and critical plus serious rhythm section-oriented spacequakes can be heard on a full stomach, veiled in a delightful sleeve with such a colorful, hyperdynamic pic upon it." --Keishiro Maki Progarchives
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LP
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BR 110LP
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Based in the city of Buenos Aires, Argentina, Sales de Baño is a group that brings together musicians of different nationalities. Led by Colombian composer and bassist Carlos Quebrada, their sound explorations have led them to expand the languages of jazz, and incorporate elements of experimental rock, contemporary music, and free improvisation. Geometría Del Vínculo (Geometry of the bond) is Sales de Baño's third album, can be understood as an avant-garde jazz album which is also connected with the spirit of Rock in Opposition. The ostinati converse with free forms, in sequences that can lead to attacks of noisy abstraction, which spring from both rock and free jazz, then go back and build complex sonic architectures where the guitar and the trumpet are featured as solo instruments. Geometría Del Vínculo confirms Sales de Baño as one of the most innovative groups of the Argentinean experimental scene, a scene that has brought to international attention other notable groups, and of similar concerns, such as Nicotina es Primavera or El devenir del Río. Sales de Baño is: Carlos Quebrada - bass, composition; Federico Isasti - drums; Andrés Marino - piano, keyboards, electronics; Camilo Ángeles - flutes; Mariano Cepeda - electric guitar; Agustín Zuanigh - trumpet.
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BR 099LP
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Buh Records present the debut album by Peruvian synth pop/cold wave duo, Blue Velvet, entitled In Event of Moon Disaster with ten songs fully composed by the band and mixed and produced by cult musician Mario Silvania (from legendary shoegaze band, Silvania). Their sound explores ethereal spaces through several layers of voice harmonies, effect chains, and '80s pop melodic hooks washed by early digital textures. Blue Velvet is a duo based in Lima, Peru. The project started in 2017 with Noelia Cabrera as vocalist and Antonio Ballester on the synthesizers. With this release, Buh Records continues its effort to present a series of releases with some of the most important acts of the underground music scene of synthesizers of Lima, with groups such as Varsovia, Dante Gonzales, Juan Nolag, and the Ecuadorians Sexores.
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BR 106LP
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Julio "Chocolate" Algendones is one of the essential percussionists in the great tradition of Afro-Peruvian music. Peru's Master Percussionist collects recordings made in 1990 in Las Vegas, during a trip that the artist made as a member of Peruvian jazz group Perujazz. The album was produced by the Englishman J. Blue Sheppard and released in 1991 by the New York-based label Lyrichord. It also includes a track originally recorded and published in Lima, in 1984. This reissue on Buh Records presents the material in remastered form and, for the first time ever, in a vinyl edition. Peru's Master Percussionist combines festejo rhythms, of Afro-Peruvian origin, with the polyrhythms of the Santeria rituals of Haiti and Cuba. Using congas, kalimbas, seeds, and cajon, Chocolate embarks on a journey towards the original Yoruba sounds, of African roots. The cajon (a percussion instrument representative of Afro-Peruvian culture) is incorporated into the hypnotic, trance-inducing rhythmic repetitions that Chocolate generates. In the end, Perujazz makes an appearance with a discharge of avant-garde jazz, in a culminating moment, to close a creative and exceptional circle, which at the same time is the perfect summary of a career that led Chocolate to move in the heart of Afro-Peruvian culture and on the edges of the avant-garde jazz. This album is a masterpiece that presents Chocolate in the fullness of his virtues as a master percussionist, as a musician who transcended all classification, who inspired many and whose creative impulse has found its place in an area where Afro-Peruvian culture, Santeria, and the avant-garde converge. Peru's Master Percussionist inaugurates the series of Perspectives on Afro-Peruvian Music. The Collection which will reveal some of the best-kept secrets of black rhythms of Peru. Artwork by Peruvian collage master Yerko Zlatar. Includes Spanish-English liner notes.
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BR 105LP
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Buh Records presents Anexo3, the debut album by Jaime Oliver La Rosa (Peru) and Ensemble KLEM (Spain). Anexo3 was composed in 2017-2018 over residencies in Bilbao, Lima, and Santiago de Chile, through elaborated processes of sound design, experimentation, improvisation, recording, and reflection. Often processed beyond recognition, violin, flutes, and saxophones along güiros, motors, and an aluminum plates system, struck and induced into resonance through feedback processes controlled by microphones, transducers, and computer software and joined by Oliver's MANO computer-based instrument. The sonic world of Anexo3 ranges from metallic sonorities of the instruments and the industrialized cities we work in, the feedback systems we inhabit, and soundscapes of imaginary nature. A forty-minute structured improvisation, Anexo3 is partially notated with traditional music notation, graphic notation, text indications, and inscriptions on the instruments themselves. The work is also heavily encoded in a software that shapes the ensemble's sound and the set of actions the musicians must make to control the temporal evolution of the piece. Jaime Oliver is one of the most important creators of instruments for electroacoustic music performances, and has received several international awards.
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BR 107LP
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Buh Records present Grabar Y Coagular: A History Of Audio Pieces By Peruvian Artists (1972-2018), the first collection that explores the relationship between recording art and conceptual pieces. With a range that goes from experimentation in sound poetry to radio art, eccentric compositions that evoke the Fluxus's spirit, appropriationism, and more. In Peru, the visual arts and sound creation have, in the last years, taken a common path: visual artists have begun to produce sound creations, experimental musicians have begun to move into the visual arts circuit... A sound art movement has turned visual and audible. Grabar Y Coagular brings together for the first time the pioneering works of Jorge Eduardo Eielson (audio-paintings) and Francisco Mariotti (computer poetry), as well as works by Luz María Bedoya, Elena Tejada-Herrera, José Luis Martinat, Eliana Otta, Paola Torres Núñez Del Prado, Maya Watanabe, Alberto Casari (and PPPP), Daniel Jacoby, Gilda Mantilla Y Raimond Chaves, Los Parafusos, Nicolas Lamas, and Juan Diego Tobalina. Grabar Y Coagular ("Record and Coagulate"), curated by Luis Alvarado, is a much awaited and needed release, a collection of audio pieces produced by Peruvian artists which defines a scope of creation where sound is the matter and form in which information becomes present.
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BR 101LP
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Tajak is a Mexican trio playing psychedelia, drone and shoegaze, with a powerful and hypnotic sound that has made them one of the revelations of psychedelia emerging in Latin America, leading them to play in various international festivals. Ciclos, the band's third album, represents the maturity of their sound. Ciclos is an effort from the band to represent a path, going through the different facets of being, in a plane that transcends time. The trio chose to experiment with new ways of composing. This album is a trip through the never-ending cycle of life, imbued with their perception and perspective of it. The group's name Tajak is from the Kiliwa's (Baja California ethnic group) dialect that means "skeleton". Tajak were formed in 2014 in Mexico City, although the members come from the Baja California Peninsula. The band is known for their unexpected and long improvisations at their live appearances. Going into their music is like buying a ticket to a new galaxy, where the only sure thing is the unknown.
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BR 084LP
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Superfriccion is the title of the tenth album by the Peruvian band Liquidarlo Celuloide, one of the most important and active of the fierce underground scene from Lima. This four-piece band is comprised of Juan Diego Capurro (keyboards, voice), Efrén Castillo (guitar), Giancarlo Rebagliati (bass), and Alfonso Vargas (drums). Influenced by industrial rock, post-punk and Krautrock, they've been active for over a decade, and are well known on Lima's experimental rock scene. Superfriccion is an evolution, with strange songs of raw beauty and violent and hypnotic instrumental passages where there is a mixture of psychedelia, krautrock and post punk no-wave.
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BR 089LP
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Buh Records present for the first time in vinyl format, the reissues of the two first and fundamental albums by El Polen, the legendary Peruvian band formed in the late 1960s by brothers Juan Luis and Raul Pereira. Two records highly sought by collectors round the world due to the majesty of a sound where you find Andean music, folk and psychedelia. 1972's Cholo, presented here, and 1973's Fuera De La Ciudad ("Out of the City") (BR 090LP) are two landmarks in Peruvian music, as they are two works that start a path for fusion between rock and native music in Peru and Latin America. This influential Peruvian band, pioneer of the fusion of Andean music, folk, and psychedelia, is the favorite artist of Devendra Banhart.
With Cholo, recorded in 1972, El Polen and rock fusion began their history in Peru. Seven songs emerge: "La Flor" ("The Flower"), "Cholito Pantalon Blanco" ("White Pants Little Cholo"), "Paisajes De Quenas" ("Quena Landscapes"), "Valicha", "Sitting Dreaming", "Tondero", and "Sequencias De Organillo Y Poliphon". The name of the album comes from the film that director Bernardo Batievski shot to honor the life of soccer player Hugo "Cholo" Sotil. "We were the only group that auditioned for the film. Batievski immediately after hearing us said: 'this is the mestizo music I need.' Part of the repertoire we had in those times was included in the record, these were songs we had already played in many concerts and that had matured for more than a year", Juan Luis remembers, 48 years after recording Cholo. For this record the musicians sat on the floor, turned the studio lights off, and recorded "the magic of Cholo" in only three hours. The input by Ayacucho musician Alejandro Vivanco was incredible. Rock roots, symphonic, progressive, psychedelic tints emerge from these songs combined with Peruvian folklore. The Cholo adventure was possible with the participation of Juan Sebastian Montesinos, Ernesto Pinto, Fernando Silva, and Beto Martinez. The present edition in vinyl format has been produced from the master tapes with the authorization and supervision of the band itself. This is the starting point for a series of releases of a new collection of Buh Records dedicated to El Polen.
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BR 090LP
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Buh Records present for the first time in vinyl format, the reissues of the two first and fundamental albums by El Polen, the legendary Peruvian band formed in the late 1960s by brothers Juan Luis and Raul Pereira. Two records highly sought by collectors round the world due to the majesty of a sound where you find Andean music, folk and psychedelia. 1972's Cholo (BR 089LP), and 1973's Fuera De La Ciudad ("Out of the City"), presented here, are two landmarks in Peruvian music, as they are two works that start a path for fusion between rock and native music in Peru and Latin America. This influential Peruvian band, pioneer of the fusion of Andean music, folk, and psychedelia, is the favorite artist of Devendra Banhart.
Fuera De La Ciudad was recorded with all of the musicians at the same time in two short sessions at El Virrey studios; which said studio never believed El Polen's LP would sell so they only released a limited edition of only one thousand copies. Three months later, there were no records in the market. Various musicians from El Polen were contacted in those times by travelers from different parts of the continent who came with the dream of finding a copy... it was not possible, even some of the musicians from the band didn't have a copy. Today these are rare items still looked for by people from different parts of the planet. The present edition in vinyl format has been produced from the master tapes with the authorization and supervision of the band itself. This is the starting point for a series of releases of a new collection of Buh Records dedicated to El Polen.
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BR 093LP
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Sexores is one of the most important bands that have emerged in Ecuador and they are one of the biggest references of the electronic dream pop sound in Latin America. East / West by Sexores is a double album that reflects their idea of evolution as a band. On one hand, there are eight synth-pop songs with a very marked aesthetic; on the other, the band got into experimenting with different types of instruments to create environments that go along with a side that they did not want to leave behind. East / West is a perfect balance between an idea of the band that gazed at their shoes and the legacy of a whole generation of music made with synthesizers and futurism. East / West was produced by Daniel Pasquel and co-produced by Sexores.
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BR 066LP
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By the end of the 1970s, a new generation of musicians who brought together ancestral and forefront, became visible in Lima as they searched for native sounds and the new tools of technology. Amongst them, we find Arturo Ruiz Del Pozo, composer who studied with Edgar Valcárcel. After studying at the National Conservatory in Lima he traveled to London in 1976 to register himself at the Royal College of Music where he took a master's degree in electronic composition. Ruiz Del Pozo had left Lima with a bag full of Peruvian native instruments with the idea of utilizing them in his future compositions. In London he was taught by Lawrence Casserly, one the prominent figures of Britain's electro acoustic composition; a musician who was fascinated by the interaction of instruments and electronic media way back from the times of his fundamental audiovisual experimentation group Hydra. Ruiz del Pozo utilized a series of concrete music resources learnt from Casserly. Based on sounds that came from native instruments and diverse manipulations to which these sounds were subject of, he obtained textures and sonorities, which, at the same time they invoked rituals, they opened a new field of experimentation; a collage of sounds of Andean reminiscence, echoes and abstractions, which will entrance you an unprecedented sound universe. These recordings were named Native Compositions (Composiciones Nativas) and they were released in a cassette tape format in 1984 by the author himself. More than 30 years later Buh Records rescued these recordings to inaugurate its Essential Sounds (Sonidos Esenciales) collection, dedicated to publishing strange and fascinating artifacts of Peruvian experimental music of this period, in a CD edition (2015), which was quickly sold out. Now the label presents its first release on vinyl.
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LP
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BR 068LP
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Miguel Flores is, alongside musicians such as Arturo Ruiz Del Pozo, Luis David Aguilar, or Manongo Mujica, one of the most important representatives of that period that spans from mid-70s to mid-80s, when experimenting musically in Peru united modern composing techniques of avant-garde music and the search of the sounds of mother land. A drummer turned into a multi instrument player, who began by playing rock from mid '60s on, with groups such as The Loop's, Thee Image, and most pointedly with PAX, iconic hard rock band of the '70s, Miguel Flores tackled Peruvian folk music by 1974 with his group Ave Acustica, which included non-conventional musical techniques into their performances. Those were times when folk music was widely promoted, as a consequence of the policies of Juan Velasco Alvarado's nationalistic policies. The appearance of the Talleres de la Canción Popular, headed by Celso Garrido Lecca, in 1974, was decisive to brood a new generation of folk and new song groups. In this environment, and after leaving PAX, Miguel Flores goes deep into his interests in folk and sound experiments as well as free jazz, his attempts to fuse what was considered could not be fused, being rejected by all sides equally. Upon his return to Lima, after an intense tour to Japan in 1980, Miguel Flores was commissioned by choreographer Luciana Proaño to write the score for her new contemporary performance Mitos Y Mujeres. Miguel Flores called Corina Bartra, Arturo De La Cruz, Manuel Miranda, and Aberlardo Oquendo to play the music which brought together folklore and psychedelia, free jazz, electronics, tribal music and ashaninka chants. A hypnotic sound stretches a bridge between ancient and avant-garde, the spirit of psychedelic rock, free jazz and pure sound experimentation. The studio recording of what was the score for Mitos Y Mujeres was kept away for more than 30 years. Now finally has its first edition on LP. This LP is part of Buh Records' Sounds Essentials Collection, curated by Luis Alvarado.
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