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LP
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BR 141LP
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$26.50
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RELEASE DATE: 2/19/2021
Ale Hop is an artist, researcher, and experimental instrumentalist. She composes electronic and electroacoustic 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 which she uses as her sound vocabulary to craft a performance of astonishing physical intensity, saturated of layers of distortion and stunning atmospheres. The Life of Insects is her fourth studio album. The composer began to craft the album The Life of Insects after spending one month living with different types of insects in her home studio, which she bought from a local insect dealer in Berlin and built little terrariums to record them for the sound design of a film she was working on. Nonetheless, the album is not comprised of compositions based specifically on sound recordings of the insects, but it unfolds as an imagined world recomposed through speculated narrative and abstract elements that seek to portray their lives, assembling sounding stories that could be re-constructed in the mind of the active listener. For this purpose, the artist came up with a musical language that could hold this fictional universe, comprised principally of several layers and textures of guitars that mimic environmental and atmospheric sounds. Edition of 300.
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LP
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BR 130LP
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$28.50
PREORDER
RELEASE DATE: 2/19/2021
Anamnesis is Liquidarlo Celuloide's new studio album. The band has turned into a landmark in Lima's underground, due to the synthesis of their multiple musical influences ranging from noise rock to dance rock. Anamnesis was produced by Killing Joke's Jaz Coleman, who saw them open KJ's 2018 Lima show, and offered to produce their next recording. The result has been another explosive work from the Peruvian band, who have expanded their sonic palette into new terrains. Dissonant riffs and sturdy drumbeats, mighty heavy guitar grooves and walls of feedback are assembled into songs that convey the most rabid post-punk and freaky psychedelia, as well as flirting with dub elements. "Hypnotic High Voltage Music" is the expression with which their sound has been defined. Coleman himself collaborated on the recording by adding synthesizers, as well as singing and writing lyrics on "Perversión", one of the album's highlights. For this recording, Liquidarlo Celuloide was Juan Diego Capurro (keyboards/vocals), Efrén Castillo (guitars), Giancarlo Rebagliatti (bass guitar), and Alfonso Vargas (drums). Cover art by visual artist, Juan Salas.
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LP
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BR 139LP
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$26.50
PREORDER
RELEASE DATE: 2/19/2021
Salamanca, the fifth and darkest moment in Sexores discography, is a journey through the different passages of its sound history. The Mexico-based duo creates a tribute to all the witches who were persecuted and serves as an introduction to various types of magic. The lyrics are the result of an exhaustive investigation that collects elements of folklore from various parts of the planet and absorbs an unusual power and meaning when music enters some darker passages explored by the band in collaboration with various female Latin American artists: a mixture of darkwave, dreampop, poetry, magic, and sound experimentation. Salamanca is a kind of pagan fest, a coven, and a celebration for the ten years of the band's career. For the most part, free software was used on the album's production process avoiding the implicit restrictions when using proprietary software and seeking technological independence within a work that seeks freedom as the main objective. Cover art by Amy Haslehurst. Edition of 300.
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2LP
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BR 132LP
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$54.00
PREORDER
RELEASE DATE: 2/19/2021
Paracas Ritual, the new album by Peruvian drummer and percussionist and Manongo Mujica and Norwegian drummer and electronic musician Terje Evensen, is the result of an investigation carried out by the duo in the desert and bay of Paracas, south of Lima, on the Peruvian coast. Long days of deep listening and recordings of sounds from the desert and the bay have served as material and inspiration for this first collaborative project. Paracas Ritual is a blend of ambient, fields recordings, meditative percussion music, free improvisation, and jazz. It is, therefore, an ambitious album that courses through a wide range of languages, but it is precisely in its voracious search that it manages to venture into unknown sound terrain, as abstract and dissonant as it is melodic and rhythmic. Includes full-color, 12-page booklet with liner notes, photos by Pauline Barberi and paintings by Manongo Mujica. Cover image by Pauline Barberi. Limited double LP vinyl edition of 300.
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LP
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BR 118LP
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$25.50
PREORDER
RELEASE DATE: 12/4/2020
The name of the project, 7697 Miles by Dieter Mauson and Cristóbal Rawlins, alludes to the distance that separates both geographical places. Mauson started in the '80s with various industrial and minimal synth projects. He currently performs as a solo artist under the name of Occupied Head. For his part, Rawlins, under the alias of Raw C, has become one of the fundamental names in the most innovative techno scene in Chile. Iskay (which in Quechua means "two") was recorded during a tour that the duo made in Peru, inspired by the Andean culture and its ancient traditions. The pieces that make up Iskay were composed using a wide variety of synthesizers and follow the lessons left by German electronic music from groups such as Kraftwerk and the Berlin School. But they are also open to ambient experimentations and echoes of techno culture, resulting in pieces that cover a whole tradition of electronic music, in a true hypnotic excursion for those who enjoy electronic sounds as a journey to new territories of sound and psyche. Iskay is the debut of 7697 Miles on Buh Records. The cover art was designed by Peruvian artist Paloma Pizarro (Infra_Intl). Edition of 300.
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LP
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BR 065LP
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$26.50
PREORDER
RELEASE DATE: 12/4/2020
Varsovia's Recursos Inhumanos (Inhuman Resources), a classic album of Peruvian synth punk, finally available in vinyl format. Originally released on CD by Buh Records in 2014. Since its appearance in 2014, Varsovia surprised many listeners with its combination of punk and synthesizer electronics, in the best tradition of groups such as Kraftwerk, Suicide, The Normal, Chris & Cosey, or Aviador Dro. Using sequencers and drum machines, loud guitars and a voice that oscillates between whispers and shouts, the band builds songs that offer a freewheeling and visceral vision of Lima. The trio, made up of Fernando Pinzás (synthesizers, programming), Dante Gonzales (synthesizers, programming), and Sheri Corleone (vocals, guitars) has quickly garnered a loyal following and become one of the references of a new generation of Latin American artists who explored dark electronic sounds of a post-punk sensibility. Many of them have made themselves known to the general public through HBO's TV series Los Spookys, where Varsovia's emblematic song "Ellos Quieren Sangre" ("They Want Blood") is included. Includes new bonus tracks for this cult classic recorded in the now mythical Paraíso del Silicio studio in Lima, by Dante Gonzales.
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LP
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BR 136LP
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$26.50
PREORDER
RELEASE DATE: 12/4/2020
Christian Kobi is one of the leading names on the improv scene in Bern, Switzerland. His work includes collaborations with Phill Niblock, Jürg Frey, Taku Sugimoto, and Keith Rowe. His new album, Cathedral, closes a trilogy for saxophone solo that started with Canto (2010) and r a w l i n e s (2013), and which was recorded in the former Swisscom high-bay warehouse -- probably the largest underground space in Bern. That space serves Christian as a place of exploration of sound, silence and action in space. Cathedral is an extensive piece that is built from the articulation of discrete blocks of sounds that allow you to enter a new listening universe proposed by Kobi, as they seek to amplify a range of micro-textures, feedbacks, mysterious extended techniques, whispers and passages where sound is a pure, dramatic, and vague exhalation in an empty space. Kobi uncovers a wide range of sounds, which he extracts from the instrument in a singular sonic monologue, making Cathedral a radical experience of listening and investigating the possibilities of the saxophone. Christian Kobi was also part of the compilation Interactions: A Guide to Swiss Underground Experimental Music (BR 120LP, 2019). Edition of 300.
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LP
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BR 129LP
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$26.50
PREORDER
RELEASE DATE: 12/4/2020
When Acid Mothers Temple and Richard Pinhas visited Lima for the first time, in November 2017, to participate in the experimental music festival "Integraciones", Luis Alvarado, the director of Buh Records and curator of the festival, summoned the Japanese and the French musicians to Manongo Mujica's studio and invited Juan Luis Pereira (El Polen) to join them for a recording session. The result was this album which finally comes to light, and where a variety of instruments and sensibilities are combined. The guitar sound of Kawabata, the leader of Acid Mothers Temple, merged with that of Pinhas, the leader of Heldon, creates a dreamlike atmosphere, which is supplemented with Mujica's Indian bells and drums, Pereira's pututos, moceño, violin, and charango, and the cosmic electronic sounds of the classic Roland synthesizer played by Higashi, from Acid Mothers Temple. Everything flows between quietness and abstraction, an atmospheric music that gives way to inspired melodic developments, which are fused with sounds coming from the Andean tradition, as well as with the classic textural and melodic explosions courtesy of Kawabata. All this is enhanced by the meticulous mixing and post-production work done by the Peruvian artist Ale Hop. Alturas ("Heights") is edited in vinyl format and is destined to become a milestone in the catalog of Buh Records, a label that has also released albums by El Polen, Acid Mothers Temple and Manongo Mujica.
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BR 122LP
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$27.50
PREORDER
RELEASE DATE: 12/4/2020
Sergio Zevallos, a Peruvian artist based in Berlin, has been active since the 1980s when he was a member of the Chaclacayo Group, one of the most radical artist collectives in Peru, dedicated to performance art. Since then, Zevallos has been interested in composing his own soundtracks, writing scores with invented notation, working with recitation of texts and recordings of people talking, elements that he later used as raw material for his compositions. Zevallos's work has been developed in a multidisciplinary field, between drawing, performance, and sound art, with a clear interest in setting iconoclasm and nonsense against the languages of power. ATEM: Piezas Para Acciones E Instalaciones (1999-2019) ("Pieces For Actions And Installations") compiles, for the first time, works in the field of sound, both soundtracks for various performances such as "Fragmentos" and "Atem", which are based on the montage of vocal sounds and noises, and "Cello", a musical composition for that instrument. In them, dissonance alternates with melodic work and experimentation with loops and recordings. "CHTP No. 3" is a work akin to the experiences of sound poetry. "Callejón Oscuro", on the other hand, documents the complex vocal sound textures achieved by Zevallos, in the manner of Radio Arte's compositions, for his sound installation of the same name. Includes photos, drawings, and notes written by Zevallos himself. This album is released 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 and sound art. Edition of 300.
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LP
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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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7"
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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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LP
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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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LP
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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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LP
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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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LP
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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 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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LP
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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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