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CD
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BR 187CD
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$18.00
PREORDER
RELEASE DATE: 8/29/2025
Buh Records presents the release of Cello in My Life, the new album by the renowned Ecuadorian composer Mesías Maiguashca. This deeply personal work reflects an intimate exploration of the relationship between the cello and the artist's life, realized in collaboration with celebrated cellist Gaby Schumacher. The album features six remarkable compositions spanning Maiguashca's career from 1972 to 2015. Each piece offers a unique perspective on his groundbreaking approach to music, blending acoustic and electronic elements to create an immersive sound experience. Highlights include: "Übungen" (1972-73): A fascinating dialogue between cello and synthesizer, performed by Gaby Schumacher and Maiguashca himself. "Lindgren" (1973): A haunting composition for cello and magnetic tape. "El Oro" (1992): A meditation on cultural collisions between the Old and New Worlds, featuring flute, cello, and spoken word. "The Spirit Catcher" (1993): An evocative piece inspired by the writings of Carlos Castañeda, combining cello and electronics. "unvermindert weiter" (1993): A duet for cello and accordion that highlights the interplay between the two instruments. "por el yasuní" (2015): A poignant commentary on the protests to protect Ecuador's Yasuní National Park, featuring violin, cello, and electronic textures. This release also marks the second collaboration between Maiguashca and Buh Records, following the critically acclaimed 2021 collection Música para cinta magnética (+) instrumentos (1967?1989). Cello in My Life stands as a testament to Maiguashca's enduring legacy as one of the most significant voices in contemporary and experimental music from Latin America. The album's intricate soundscapes and profound themes promise to captivate both long-time admirers and new listeners alike. Set for release on February 28, 2025, the album will be available on digital platforms and as a physical CD edition. This milestone in Maiguashca's discography further cements his reputation as a pivotal figure in the realm of contemporary and experimental music from Latin America.
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BR 189LP
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Buh Records presents El tiempo quiere cantar ("Time Wants to Sing") the debut album by Pacha Wakay Munan, a duo formed by Peruvian musicians and researchers Dimitri Manga Chávez and Ricardo López Alcas. This album explores the sonic possibilities of pre-Hispanic instruments in a contemporary musical context. Through their performance, they explore their tonal possibilities, the interaction between their frequencies, and their ability to generate new dialogues. The work of Pacha Wakay Munan aligns with the tradition of sound explorers such as the Peruvians Arturo Ruiz del Pozo and Luis David Aguilar or the Colombians Yaki Kandru. The album's repertoire consists of pieces that explore diverse sonorities and musical concepts. "Pacha Wakay Munanqa" introduces the timbral variety of the instruments used. "El Taki Onkoy" draws inspiration from historical accounts and the meaning of its name ("Sick Song"), based on a Culina chant documented by Rodolfo Holzmann. It features vocals by the experienced singer Ximena Menéndez. "Mundo Posible" is a reinterpretation of an improvisation session with musicologist Chalena Vásquez Rodríguez, where the piano dialogues with ceramic antaras. Other pieces delve into the sonic construction of these instruments in relation to their cultural contexts. "Machu Tara" explores the concept of tara, a rough and vibrant sound quality found in certain Andean musical traditions. "Túpac Huaca" references the Huaca Aliaga in Lima, creating a sound palette where pututos, whistling vessels, and quenas converge. "Agua, Cuarzo y Viento" introduces quartz sikus and bowls tuned to different frequencies, evoking the interaction between natural elements and resonant vibrations. In the piece "Qinray Tema", Camilo Ángeles plays the metal transverse flute, creating a contrast with the pre-Hispanic ceramic flutes and pelican bone flutes. El tiempo quiere cantar is released by Buh Records in digital format and in a limited vinyl edition of 300 copies.
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BR 186LP
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Buh Records presents Primera Secuencia, the debut album by Ballet Mecánico, the project of Fernando Pinzás. After his time in the synth-punk band Varsovia, Pinzás embarks on a new phase as a solo artist and producer, exploring electronic styles from the 1980s like synthpop, Hi-NRG, Italo disco, and techno pop. The album blends synthesizers, programmed sequences, and pulsating basslines to create a nostalgic yet danceable soundscape. Set against the backdrop of the pandemic and social movements in Peru, each track tells a story, featuring guest vocalists from the Peruvian independent scene, including Susana Fátima (Gomas), Noelia Cabrera (Blue Velvet, Silveria), Kat Kathia, Luxsie, Luminiscencia, Anabhell (Las Ratapunks), Laura Rosales (Solenoide), and Elva Cío (Specto Caligo). Singles "No Cederé" and "Testamento" define the project's dark and ethereal pop aesthetic. "No Cederé," featuring Susana Fátima, critiques societal notions of success over an Italo disco and Hi-NRG beat. The track includes a remix by Italoconnection, the duo of Fred Ventura and Paolo Gozzetti, who take it into a hypnotic, spacey realm. "Testamento," with Luminiscencia, reflects on the emotional weight of the pandemic, blending synthpop and ethereal pop. Other standout tracks include "La ciudad de los incendios," a dystopian vision of Lima with dark disco rhythms, and "Como la última vez," a synthpop-driven, melancholic song featuring Noelia Cabrera. Produced by Pinzás with Antonio Ballester, Omán Morí, Rafael Benavides, and Juancho Esquivel, the album was mastered by José Marcos Aguilar Villanueva (Antinori) and features artwork by Gonzalo de Montreuil.
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2LP
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BR 191LP
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For the first time, a representative anthology of Eduardo Polonio's early electroacoustic works is available in vinyl format. This compilation also serves as a review of the history of Spanish electroacoustic music, featuring works created at the Phonos Laboratory in Barcelona, the Alea Electronic Music Laboratory in Madrid, the Electroacoustic Music Cabinet in Cuenca, and the composer's private studio in Barcelona. The anthology Eduardo Polonio: Obra electroacústica 1969-1981 revives the early stages of the innovative composer with a curated selection of eight restored pieces. A limited edition celebrating his profound impact on Spanish experimental music. Eduardo Polonio (1941 - 2024) was one of the foundational figures in the emergence and development of electroacoustic music in Spain. From the raw electronic textures of "Para una pequeña margarita ronca" (1969) to the timbral subtleties of "Flautas, voces, animales, pájaros" (1981), this collection showcases Polonio's artistic evolution and highlights different facets of his work as a composer and musician. The included works reflect this multifaceted aesthetic. "Oficio" (1969) is a real-time improvisation recorded using two low-frequency generators and a modified electric guitar amplifier for sound modulation. Rabelaisiennes (1969), for prepared guitar, explores minimalism and instrumental experimentation. "Continuo" (1970), a piece for electric guitar and bass, anticipates ambient music while engaging with free jazz and psychedelia. "Me voy a tomar el Orient Express" (1976) stands out for its rhythmic and harmonic interplay between the lines forming the sonic texture. "Valverde" (1981) offers a microscopic study of a distinctive way flamenco guitar concludes bulerías phrases. "El reclinatorio en el tejado de la lejana abadía" (1971) is structured as an imaginary soundscape in the form of a suite. Polonio's life and work parallel the history of electroacoustic music in Spain. From his beginnings at Alea, Spain's first electronic music laboratory, to his collaborations with figures like Horacio Vaggione and Josep Maria Mestres Quadreny at Phonos, Polonio carved a unique path in the history of Spanish experimental music. Eduardo Polonio: Obra electroacústica 1969-1981 is presented by Buh Records as a limited double LP edition and in digital format, in collaboration with the Asociación de Música Electroacústica de España (AMEE). The audio in this edition has been restored and mastered directly from the master tapes by Víctor Aguado. The album includes extensive liner notes written by Víctor Aguado and Ramón del Buey, with artwork and design by Gonzalo de Montreuil.
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BR 183LP
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A new album by composer Oksana Linde presents new electronic pieces, composed between 1986 and 1994, that have remained unreleased. This set of electronic pieces explores more ambient and meditative sounds. Travesías, her second album released by Buh Records, features pieces created in her private studio in San Antonio de Los Altos, Venezuela. These works belong to the same creative period as the pieces included in her acclaimed debut album, Aquatic and Other Worlds (BR 160LP, 2022). Born in 1948 in Caracas to Ukrainian immigrant parents, Oksana Linde's journey is an example of resilience and innovation. After abandoning her career as a chemist due to health problems, Linde devoted herself to music, experimenting with synthesizers to create a deeply evocative sonic universe. She produced a vast number of recordings during the 1980s, many of which remained unreleased until the publication of Aquatic and Other Worlds. This new collection of pieces, taken from the extensive archive of cassette tapes preserved by Linde, unveils yet another perspective of her work. The pieces "Mundos Flotantes" (Floating Worlds), "Horizontes Lejanos" (Distant Horizons), and "Arrecifes en el espacio" (Reefs in Space) were specifically composed for the show Travesía Acuastral (Aqua-Astral Journey), presented by Linde in February 1991 at Casa Rómulo Gallegos as part of the 3rd Encounter of New Electronic Music. This event, produced by Maite Galán in collaboration with the Musikautomatika group, was a milestone in shaping an experimental electronic music scene in Venezuela, one of the most active in Latin America at that time. Linde composed a series of pieces for use in meditation sessions, four of which are included in this compilation: "Luciérnagas en los manglares" (Fireflies in the Mangroves), "Estrellas I" and "II" (Stars I and II), and "Kerepakupai Vena." The latter refers to two words from the Pemón Indigenous community in southeastern Venezuela, meaning Angel Falls, the name of the world's tallest waterfall. Travesías solidifies Oksana Linde's position as an essential figure in electronic music and furthers the effort to bring to light one of the most fascinating archives of electronic music produced in Latin America. This compilation is released through Buh Records in a limited edition of 500 copies. Compilation and liner notes by Luis Alvarado. Mastered by Alberto Cendra at Garden Lab Audio. Cover photo by Elisa Ochoa Linde. Art and design by Gonzalo de Montreuil. This album was made possible thanks to the Ibermusicas fund.
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BR 190LP
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Originally released in 2014, Historias de Frío has become a landmark album in recent Ibero-American shoegaze. The second album by the Ecuadorian band Sexores, which in practice and according to some music media, has the soul of a powerful debut, celebrates 10 years of existence with this vinyl re-release via Buh Records. In 2014, the band, then based in Barcelona, independently released an album that surprisingly received the affection of specialized critics, leading Sexores to embark on a European tour and consider them a revelation of Ibero-American shoegaze and dream pop. Historias de Frío would have a profound meaning, both for its members and for a part of the audience that still treasures the songs and the first times they saw the band live. But perhaps, the most important meaning associated with this album is the definition of a musical identity that still accompanies them and that has led them, 14 years later, to an intense period of activity. From the solitary recording of the rhythmic bases of the songs, which began on December 29, 2012, to the desolate reality of having lost the material in a robbery at their studio on June 21, 2013, Historias de Frío is a work with many transversal anecdotes; it is a collection of narratives full of inspiration and a sound construction that has the ability to be assimilated and kept as a great listening experience; and, finally, this work is one of the points to which one can always return to reconnect with those early desires to make music simply for the pleasure of making it. Recorded between Quito and Barcelona, and mastered at The Lodge (New York) by Sarah Register, with cover art by painter Aron Wiesenfeld and photographs by María José Rodríguez, this vinyl reissue includes two bonus tracks, "Titán" and "Doppelgänger," which were released shortly before the launch of Historias de Frío and are part of the same creative period.
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BR 184LP
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A long-awaited reissue of a holy grail of Latin American boogie disco. The members of the band are Saúl and Manuel Cornejo, previously in Laghonia and We All Together. Building on the saga that began with the Viva el sábado compilation, Buh Records now introduces the debut album of Rollets, originally released in 1981. Rollets was one of the fundamental groups for the development of disco in Peru. Their career was brief, only two years, with one album and a couple of performances. Although they are remembered for their mega-hit "Patinando," they were more than a one-hit wonder. The nine tracks included in their self-titled album Rollets (1981) surprise with the maturity with which they embrace the sounds of disco and boogie. They emerged in Lima in 1980, led by Manuel and Saúl Cornejo, who began working as producers at historic record label Iempsa. They had composed and recorded "Patinando" as the theme music for a new TV show on Channel 5 called Speed Boogie (1980), without anticipating the success the song would have. The Cornejo brothers recorded all the instruments, including the synthesizers. The vocals were provided by Malena Calisto. "Patinando" gave them the confidence to propose recording an album to Iempsa. They again called on Malena Calisto, and also her sister Nancy, Giovana Reynaga Da Silva, and Rosemary Paz Wells for the backing vocals. Combining some never-recorded songs by New Juggler Sound (rock band they formed in the '60s) and new compositions, they put together the repertoire for an album. Rollets' songs were nourished by the thematic and musical universe of the aforementioned films, especially Roller Boogie, and offered a period portrait marked by sentimental education and dance as a catalyst for youthful emancipation, with Malena Calisto's voice transitioning from innocence to hedonism. Rollets marked the beginning of a path for Peruvian disco that many groups later followed, such as Grupo América, Grupo San Francisco, Los Roller's de Tarapoto, Grupo Swing, and Grupo Galaxia, among others, significantly, many of them linked to tropical music. Rollets wrote a main chapter to understand the change of decade and the phenomenon of a new dance culture that spread throughout the country. This reissue includes insert with liner notes by Luis Álvarado and visual documentation.
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BR 185LP
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Mauricio Moquillaza, in his debut album, charts new directions for electronic music in Peru through the use of modular synthesizers and improvisational methods, crafting minimalist sequences with rich melodic and textural qualities. The four compositions in the album belong to a modern tradition of modular synthesizer use, an instrument that has experienced a global resurgence in recent years, expanding the aesthetics and possibilities of analog sound. These four pieces, created with a modular synthesizer, blend innovative sequencing processes and minimalist repetitions while interweaving organic and melodic patterns with noisy abstract soundscapes. These works, the result of extensive experimentation in his studio, have been recorded in a single take, without any overdubs. Emerging from Lima's experimental music scene, Mauricio Moquillaza is also a bassist who has developed his sound practice at the intersection of noise and free improvisation. He is the founder of the collective Deshumanización, which has served as a platform to showcase a new generation of experimental music artists in the city. This perspective is crucial to understanding his work with the synthesizer, which he views as an extension of the spontaneous nature of improvisation. Consequently, his pieces have an irreproducible quality and explore the ongoing tension between control of the instrument and its generative possibilities. From this vantage point, Moquillaza embarks on his own exploration, offering a narrative that is striking in both its conciseness and its openness to the unknown. Mauricio Moquillaza's debut album is presented in a limited vinyl edition of 300 copies by Buh Records. It has been mixed by Christian Mun and mastered by Simon Davey, with artwork by Aaron Julián.
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2LP
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BR 188LP
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First compilation that brings together early electronic works by Peruvian composers. Features works produced in international laboratories of prestigious centers such as the Instituto Di Tella, Columbia-Princeton, and the Royal College of Music. A unique aspect is the exploration between native instruments and electronic music. This compilation offers a first overview of the early works of electronic and tape music created by Peruvians composers between 1964 and 1984. This period marks a technical and aesthetic evolution that allows us to understand the development of electronic music in the Peruvian context, from an initially internationalist model to a more situated one. The first phase occurs in the 1960s, when many composers migrated outside Peru in search of advanced training and access to knowledge and infrastructure that the academic music scene in Peru could not provide. César Bolaños traveled to Argentina, to the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Instituto Di Tella, where he produced an extensive body of work, including "Intensidad y Altura" (1964) for magnetic tape, the first electronic work produced in the CLAEM electronic music laboratory. Similarly, Edgar Valcárcel was a CLAEM fellow and also spent time at the Columbia-Princeton Electronic Music Center in New York, where he composed, among other works, "Invención" (1967) for magnetic tape. Enrique Pinilla also passed through there, composing "Prisma" (1967) for magnetic tape. Alejandro Núñez Allauca was another CLAEM fellow, where he composed "Gravitación Humana" (1970). Soon, there emerged a notable interest in utilizing the sounds of native Peruvian instruments. This also marked a shift from an internationalist model of electroacoustic music towards an openness to other types of sonic experimentation. Composers such as Arturo Ruiz del Pozo, Luis David Aguilar, and Corina Bartra belong to this new period, which also marks the emergence of an initial scene of experimental music and free improvisation. Ruiz del Pozo pursued a Master's in Electronic and Film Music at the Royal College of Music in London, where he composed "Selvynas" (1978). Luis David Aguilar also became involved in music for film and television, composing, among other works, "Hombres de viento" (1978), the soundtrack for José Antonio Portugal's film. Corina Bartra traveled to London where she took courses in composition and electronic music, composing the mixed work "Aves en vuelo al sur" for voice, instruments, and tape in a private studio. This compilation has been curated by Luis Alvarado and is published in a limited edition of 300 copies in double vinyl format. It includes extensive notes and visual documentation.
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2LP
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BR 181LP
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The work of Bolivian composer Cergio Prudencio (La Paz, 1955) is indissolubly linked to the project of the Orquesta Experimental de Instrumentos Nativos (Experimental Orchestra of Native Instruments, OEIN), which he co-founded in 1980 and of which he is the emeritus director. It constitutes one of the most challenging adventures in the music that has emerged in Bolivia and Latin America. The OEIN is the result of the incorporation of Aymara musical traditions into the realm of contemporary music to produce a new sonic world. This incorporation is not only based on using native instruments but also involves integrating their socio-historical context and philosophies from the Andean indigenous world. The release of Cergio Prudencio's Antología 1: Obras para la Orquesta Experimental de Instrumentos Nativos allows listeners to delve into this wealth of thought and sounds, into the work of a fundamental and radical artist, for whom decolonization is also an opening to experimentation and the new. These compositions project a historical memory into the present, constructing new horizons. This is evident in the works included in this album, such as "La ciudad" (1980), which marks the beginning of an understanding of highland urban soundscapes, a geography that cannot be understood without the groups of sikus and led to the formation of the OEIN. On the other hand, there is a piece like "Cantos insurgentes" (2012), composed from materials used for the soundtrack of the film Insurgentes by Jorge Sanjinés, a Bolivian director and founder of Grupo Ukamau, with whom Prudencio has had a long collaboration as the creator of music for his films. Prudencio's work has followed multiple musical paths, including music for conventional Western instruments, music for film and video, electroacoustic music, chamber opera and more. The album is completed with compositions such as "Tríptica" (1985), "Otra ciudad" (2005), and "Cantos funerales" (2015), offering an artistic and vital journey in Prudencio's trajectory as well as that of the OEIN. Limited edition of 300 copies. Includes a booklet with notes written by Cergio Prudencio. The recording, editing, and mastering were done by Gustavo Navarrete. Art and design by Gonzalo de Montreuil.
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BR 178LP
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From the re-reading of Jorge Luis Borges' famous story "The Circular Ruins," Peruvian composer, percussionist, and painter Manongo Mujica approaches some of his great obsessions with a new perspective: the desert of the Peruvian coast and the pre-Hispanic ceremonial centers found there. For years, the impressions of these places have evoked in Mujica a highly personal aesthetic, born from understanding the desert as a space for inner listening, and the ceremonial centers or "huacas" as a representation of mystery. Ritual Sonoro para Ruinas Circulares (Sound Ritual for Circular Ruins) is the synthesis, the dreamlike and sound amalgamation, and perhaps Manongo Mujica's ultimate album on his unique vision of the sound landscape and the desert. Building on a heritage of meditative and ethnic music, avant-garde jazz, and improvisation, here is a strange sound universe, based on the use of various drum and percussion rhythms (udu, djembe, gong, cajón, seeds, Chinese bells, etc.), field recordings and sound montages, dense, reverberating, gloomy, immersive, and hypnotic soundscapes. These gradually give way to a solitary and penetrating cello (performed by Fil Uno). Crescendos introduce electroacoustic processes (created by the Norwegian Terje Evensen), interweaving panpipes and ritualistic voices (performed by Gabriela Ezeta), shaping the atmosphere like that of a magnificent ceremony. The album features the participation of Cristóbal, Daniel and Gabriel Mujica, sons of Manongo. As well as with the participation of Fil Uno, Terje Evensen and Gabriela Ezeta. It was recorded by Juanjo Salazar at the La encía del Leopardo studio. Mastered by Mario Breuer. And with the cover art by Yerko Zlatar, based on photographs by Pauline Barberi. It is published by Buh Records in digital and in a vinyl edition, limited to 300 copies.
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LP
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BR 134LP
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This album compiles a series of sound pieces produced by the Peruvian artist Teresa Burga (Iquitos, 1933 -- Lima, 2021) during the 1970s. It includes works that were part of various artistic projects, mainly sound installations, as well as pieces commissioned to musicians and inspired by her work. This album thus embodies an approach to a sound universe that has accompanied Burga's very personal work, which has transcended the limits of the artistic medium and disciplines. In the last decade, Teresa Burga's work has been present in numerous retrospectives and anthologies, as well as in various critical studies, which has cemented her standing in the art world, both in her home country and internationally. A founding member of the avant-garde art collective, Arte Nuevo, Burga began painting and then embarked on an experimental path influenced by conceptual art. Her works emphasized her status as a woman in an eminently male art scene, as well as her experience as a public worker in the national tax administration system, which familiarized her with the bureaucratic language of reports and records -- a distinctive feature of her artistic style. Her work has explored multiple mediums and the use of technological resources, which can be seen in her light installations, videos, pieces that allude to computer processes, and sound installations, highlighting the place which women occupied in a world of technological mediations. This album includes the sound pieces "Estructura Informe Corazón" (Structure Informe Corazón) (1972) and "4 mensajes" (4 Messages) (1974), composed of heart sounds and distorted television signals. It also includes the interpretation of the conceptual score "Esctructura Propuesta Sonido" (Structure Proposal Sound I) (1978), based on the poem "Cruz y Ficción" by Blanca Varela, in versions by the Peruvian Nicolás Wangeman, and by the Argentineans Alma Laprida and Alan Courtis. Also included is the piece "Borges" (2017), a commission by Burga to the Peruvian composer Jan Diego Malachowski, for the installation of the same name, here presented in a synthesizer version by Laprida and Courtis. The publication includes a booklet with extensive notes by curator and researcher Luis Alvarado, as well as extensive visual documentation. 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.
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BR 171LP
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This compilation brings together for the first time diverse Peruvian musical groups that immersed themselves in dance music following the codes brought by the disco revolution. As a phenomenon of a new culture, the global dissemination of disco music had various variations and reformulations. The way it took root in Peru constitutes a fascinating yet underexplored history, despite the numerous recordings that came to light, mainly in the 1980s, running parallel to the boom of Peruvian tropical music, the emergence of a new pop rock scene, and the widespread use of synthesizers and electronic drums. And even though the groups were eclectic and moved across various musical genres, their dance music hits have now become cult pieces. From Lima to Trujillo, from Iquitos to Tarapoto, this compilation presents a wide range of sounds designed for the dance floor: unrestrained, eclectic, and high-energy. From pioneering groups with brief yet foundational trajectories like Rollets (composed of members from the rock group Laghonia) or Santodomingo Kid (led by experimental musician Luis David Aguilar), who range from boogie to soul disco with electrifying synthesizer sounds. But also, the exotic arrangements of Grupo América and Grupo Cremolada, to the tropical disco pop sound of Grupo San Francisco or Los Roller's de Tarapoto. From the space disco ventures of Grupo Swing to the synthesized pop sound of Pepo Rock, Jaque Mate, or Annie. Viva el sábado: Hits De Disco Pop Peruano (1978 - 1989) constitutes a fabulous and unique document to delve into Peruvian dance music and initiates a new series at Buh Records that will present in various volumes some of the treasures of disco music in Peru. Compilation and research by Luis Alvarado. The album includes a booklet with extensive information and visual documentation. Mastered by Alberto Cendra. Art and design by Estudio Famas.
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BR 177LP
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Implosiones is the second album by Búho Ermitaño, Peruvian psych explorers. With references to kraut rock and the Andean folk of groups like El Polen, the sound of Búho Ermitaño is immersed in hypnotic instrumental explorations, melodic passages, and bursts of cosmic rock. Implosiones is a renovating sound synthesis that places the band as one of the new referents of psychedelic rock in Peru. Formed in Lima in 2008 by Franz Núñez (guitar) and Diego Pando (guitar), they began as a jam band. With the addition of Irving Fuentes (charango) and Leo Pando (synthesizers), the group's sound began to have its own color, which found its final formation with the inclusion in 2014 of Ale Borea (percussion) and Juan Camba (drums). Since then, they have been an active band in the underground circuit of Lima, alternating with psychedelic rock bands and experimental music artists (several members of Búho Ermitaño play at the same time in various sound experimentation musical projects). It is with this formation that the group has recorded Implosiones, incorporating a wide range of instruments that includes guitars, bass, drums, synthesizers, theremin, electronic loops, bongos, flutes, djembes, charango, among others. All of this is reflected in songs like "Herbie" with a marked percussion base, or in "Explosiones", and their high-energy neo-psychedelia, unlike their first album, the inclusion of vocals in song format is now present, opening up a new creative path. Implosiones also includes some of the group's classic songs such as "Buarabino", a drift of psychedelic folk, but also new compositions such as "Entre los cerros", where synthesizers set a course for space rock. Implosiones has been recorded and mixed by Camilo Uriarte at Eco Estudio and mastered by Alberto Cendra and Camilo Uriarte. Produced by Búho Ermitaño and Camilo Uriarte. Art by About Visual Studio. Edition of 300.
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LP
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BR 169LP
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Relikte aus der Zukunft (Relics from the Future) is a new album by experimental German artist Baldruin. Growing up in a small Bavarian village rectory around 10 meters beside the church and serving as an altar boy; organ music, church bells, and spiritual chanting were very much present in Johannes Schebler's ears during his childhood years. This experience was probably the basis for his ongoing interest in transcendental and mysterious atmospheres, he recalls. Schebler started making music as Baldruin back in 2009 with DIY experimentations which were first released on tape, a CD-R 3" and later on several LPs all over Europe (Ireland, Spain, Portugal, Poland, Finland, Netherlands, Slovakia), as well as in the USA and Japan. While in the beginning Baldruin's tracks were mostly created with acoustic instruments, later synthesizers and other electronic sound sources joined, expanding the sound palette and letting primordial and futuristic worlds merge organically into each other. Although Relikte aus der Zukunft feels like a journey to the unknown, with constantly changing moods, all of the recordings were done in a small and improvised home studio in Schebler's living room in Wiesbaden, Germany, using mostly a single MIDI-keyboard for recording. The tracks are full of color and amazement, detailed and thorough when evoking the setting and conjuring the experience. They can be playful and bright, or suspenseful and ominous, until bursting into ritual and hallucination. The gloomiest soundscapes can jump into a ship fueled by retro sci-fi arpeggios, the solemn can turn to rejoice, and a star can shrink into a fireplace. Mastered by Alberto Cendra at Garden Lab Audio. Cover art by Johannes Schebler. Edition of 300.
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LP/7"
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BR 152LP
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Los Yndeseables was a post-punk musical project active between 1984 and 1985 in Lima. It was founded by Guillermo Valdivia, better known as Kimba Vilis, drummer and founding member of Leusemia, a punk band representative of "Rock Subterráneo", the hardcore punk movement that emerged in Lima in the mid-1980s. The complete recordings of Los Yndeseables are published here for the first time. The album includes the demo rehearsal El Perfecto Ruido, a historical document, as it is one of the first Peruvian DIY records, as well as two studio-recorded songs "Escapa del control" and "Asquerosa corrupción", with a piercing sound of dissonant electric guitar and an electronic rhythmic base, presented here on separate 7" vinyl. Under the name of Los Yndeseables, Kimba Vilis recorded a demo entitled El Perfecto Ruido (The Perfect Noise) in May 1985, using acoustic guitars, a battery-powered keyboard and sounds of home objects (cans, tubes, etc.). For this experiment, he recruited Mario Chirinos, known as Mario Almanegra, the bass player of Zcuela Cerrada, a band where Kimba had played guitar and composed some songs. Recorded at home, the ten songs that make up El Perfecto Ruido showed a particular rawness and nakedness, marked by disenchantment and existential anguish, exploring dizzying emotional states, as well as a variety of sounds that manifested an attachment to the experimental and dissonant spirit of post-punk. At the end of 1985, Kimba re-recorded at the studio Filderes two of the demo's songs in electric format for the compilation Vol 2, which brought together a new wave of underground groups. The songs "Escapa del control" (Escape Control) and "Asquerosa corrupción" (Disgusting corruption) showcased Los Yndeseables in an exercise of creative freedom and imagination without precedents in the Lima underground scene, with a piercing sound of dissonant electric guitar, a hypnotic bass line and an electronic rhythmic base, which placed the band at the vanguard of this generation. "Escapa del control" has since become a cult song played by many musicians from the following generations and is without a doubt one of the essential songs of "Rock Subterráneo". Includes extensive information and visual documentation, plus 7" vinyl Escapa del control/Asquerosa corrupción. Mastered by Alberto Cendra at Garden Lab Audio. Cover art by Héctor Delgado. Edition of 300.
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BR 174LP
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Thank You Lord For Satan is the musical project of Paloma La Hoz (a former member of 12 Garras and Mitad Humana) and Henry Gates (known for his work as Resplandor), two musicians with a long history in the independent scene of Lima, Peru. In 2021, and after the confinement caused by the pandemic, they began to work together on new songs, with a unique mix of psychedelia, folk, soul, and synthpop, for fans of bands like the Velvet Underground or The Brian Jonestown Massacre. As a result, eight songs emerged that now make up the self-titled debut Thank You Lord For Satan, an album that portrays the everyday story of two people living and discovering a moment of creative euphoria. Not only does the duo exhibit a great talent for composition, but also for performance. The way in which both voices interact gives their sound a personal as well as a mysterious quality. Listening to them is like accessing a secret exchange. On songs like "A Million Songs Ago" and "Wet Morning" they immerse themselves in the sound of neo-psychedelia. Delay effects, distortion and tremolo on the guitar are combined with the whispering and melodious voice of Paloma La Hoz. While on "Sad Song" and "Text Message" they show a crooner side, with Henry Gates on lead vocals, paying homage to some of his musical heroes, with arrangements that grow from an acoustic format to a chamber pop sound. "Isolation" is a melancholic experimental song, where the naked voice of Paloma La Hoz is accompanied by a discreet instrumentation which includes field recordings. In a related style, although with a gospel orientation, is "Devine Destinity". In "Conversations al Amanecer" and "When We Dance" the duo explores more unclassifiable paths within the pop song format. The first song makes soul and dub coexist, while the second mixes neo-psychedelia and synthpop, with an unexpected arrangement of trumpets and a vocal exercise by Paloma La Hoz, between spoken word and rapping. And although the references manage to give an idea of the path that the duo is traveling, the results are rather personal and work as a mosaic of sensations. The songs on the album have been composed and recorded by Paloma La Hoz and Henry Gates. Mixed by Jorge Balbi and mastered by Francisco Holtzman. Cover art by Goster. Edition of 300.
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7"
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BR 173EP
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José Javier Castro (1965-2022) was a Peruvian artist and musician who emerged in the 1980s, and is known for being the leader, guitarist, and singer of the experimental rock group El Aire, as well as an emblematic figure of the Lima underground. He also developed, starting in the early '90s, various projects centered on electronic experimentation, and oriented towards ambient and cosmic music, both for soundtracks, sound installations, as well as for his own rock band, leaving an important archive of recordings unpublished. "Melodía a Gianni Toti en dos partes" (Melody for Gianni Toti in two parts) constitutes a first publication that seeks to disclose that other creative side of José Javier Castro, who was also an active promoter of the experimental music scene in Peru. José Javier Castro encountered the work of the Italian artist Gianni Toti as an active collaborator of the Túpac Amauta project, directed by Toti and produced at the Centro Internacional de Creación de Video (International Center for Video Creation) (CICV). In 1999, for the second part of the Túpac Amauta project, he was invited as a resident artist at the CICV, establishing a first-hand link with Toti, with whom he shared ideas regarding syntheatronic creation. The sound piece Melodía a Gianni Toti en dos partes was composed in 2021 and is inspired by Toti's various visions of music and aesthetics. This project led Castro to a long reflective process in search of a coherent definition of both the process and the aesthetics. It is a spontaneous and heartfelt evocation as a tribute and thanks to Toti. White/translucent blue vinyl; edition of 250.
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BR 176LP
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Berlin-based Peruvian musicians Alejandra Cárdenas, AKA Ale Hop, and Laura Robles present their debut album together, released via Buh Records. With a foundation informed by decolonialism and organology, Agua Dulce is a radical deconstruction of traditional rhythms of the Peruvian coast, in which the cajón instrument plays a central role. Agua Dulce is named after the most popular beach in Lima, near where both artists lived during their childhood, houses apart, without ever meeting one another. Now, years later, the pair have joined forces, with Robles on a self-built electric cajón and Cárdenas on electric guitar and electronics. Together they explore rhythmical structures that form the backbone of the complex Afro-Peruvian music and dance traditions -- a broad term used for the various musical developments that occurred in the last two centuries, at the shores of the Peruvian Pacific. The cajón originated in coastal Peru as a percussion instrument that the black slaves created from wooden fruit boxes, when foot drums were banned at the end of the Spanish colonial-era, in the 19th century. From its birth the cajón was a symbol of resistance, experimentation and transformation, so Robles and Cárdenas strive to maintain the instrument's spirit and qualities by pushing the boundaries of its sound into the future. However, although buzzing with an intense voltage and proffering a fresh contribution to modern experimental/noise/lo-fi/percussive music, the duo's mission isn't merely capturing something sonically futuristic, but is primarily concerned with shaking off the dust: "These rhythms have become ossified nowadays, heard in Peruvian folklore shows, and on the 'global music' circuit, but our desire is to experiment and do something more radical with them, connecting to the instruments more radical past", comments Cárdenas. The two musicians take the pulses of dances like Landó, Zamacueca, Festejo, Alcatraz, Lamento and Son de los diablos, electrifying and mutating them into pure textures, or reinforcing the physical character of the cajón through repetition and distortion. Cover art by Eduardo Yaguas. Edition of 300.
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2LP
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BR 172LP
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Jacqueline Nova (Ghent, Belgium, 1935 - Bogotá, Colombia, 1975), a representative figure of Colombian avant-garde music, developed important and radical work within the field of electronic and instrumental music, as well as in interdisciplinary forms. This album, Creación de la Tierra - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) ("Creation of the Earth - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)")¸ under the curatorship and research of the Colombian composer Ana María Romano G., recovers Nova's most important electroacoustic works: "Creación de la tierra (Creation of the Earth)" (1972), "Oposición-Fusión (Opposition-Fusion)" (1968) and "Resonancias 1 (Resonances 1)" (1968-69), as well as the music for the film Camilo el cura guerrillero (Camilo the Guerrilla Priest) (1974), composed during her stay at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) , of the Torcuato Di Tella Institute, in Buenos Aires, as well as in the Study of Phonology of the University of Buenos Aires. The compilation also includes the instrumental works "Omaggio a Catullus" (1972-1974), "Transiciones (Transitions)" (1964-1965), and "Asuimetrías (Asymmetries)" (1967), in which she explores randomness, timbre possibilities or the encounter between acoustic and electronic media. The interest in experimenting with the human voice, and interdisciplinary work involving visual arts, were some of the aspects that have defined Jacqueline Nova's work. Ana María Romano has written: "Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society. Jacqueline Nova died in Bogotá of bone cancer. Her tragic and early death not only cut short a career in full creative force, but also directly affected the development of electroacoustic music in the country. After her death there was a great silence -- close to 15 years -- in musical creation with electronic means. Nova challenged a conservative milieu and survived alone, working in a field thought to be exclusively masculine. But it was a woman who strengthened the use of technology in Colombian music. A risky bet that sadly represented a high cost: Nova was relegated during her lifetime, but her noises managed to shake and question the comfort zones of the Colombian musical establishment." Includes a booklet with extensive information written by Ana María Romano G.; edition of 300.
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BR 158LP
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This compilation brings together 22 sound poems, including both pioneering and current pieces, and constitutes itself as the first great overview of sound poetry from Peru. It continues a cycle that began in 2009 with the appearance of a CD called Inventar La Voz: Nuevas Tradiciones Orales [To Invent the Voice: New Oral Traditions] and was followed up in 2011 with another one called Irse De Lengua [To Let It Slip], both of which contributed to articulate diverse manifestations of poetry that used technological means, also in the context of intense activity in the local scenes of experimental music and sound art that opened spaces for interdisciplinary dialogues. What we know as sound poetry is the product of a technological revolution associated with the appearance of various means of recording, transmission and amplification of the voice. A long process that took shape in the 20th century, until it became a discipline, articulated as an international movement which, based on phonetic research, expanded into a universe of oral/vocal artistic practices as part of a new technological context. The recordings gathered here comprise a time frame that goes from 1972 to 2021. You find poems that work with montage techniques, either because they explore simultaneity or juxtaposition, such as those by Mario Montalbetti, Frido Martín, Florentino Díaz, Carlos Estela, Luisa Fernanda Lindo, Macri Cáceres, Rodrigo Vera Cubas, Tilsa Otta, Giancarlo Huapaya/Omar Córdova, Virginia Benavides, Lisa Carrasco, and Luis Alvarado. Others emphasize vocal/oral performance: you find the phonetic poems of Carlos Germán Belli and Eduardo Chirinos, as well as the concrete conceptual poems of Michael Prado, Sandra Suazo, Peru Saizprez, and the oral/guttural poem of Omar Aramayo. Finally, you find another group of pieces where the poem starts with the creation of a computational parameter or algorithm, as is the case with the pieces by Jorge Eduardo Eielson and Enrique Verástegui, eventually reaching the use of Artificial Intelligence as in the poems by Francisco Mariotti and Paola Torres Núñez del Prado. The Verbal Matter: An Anthology of Peruvian Sound Poetry is part of a series produced by Buh Records for Centro del Sonido, a website set up as a digital archive of Peruvian experimental music and sound art. Includes extensive notes and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Edition of 300.
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BR 135LP
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Diseñar Y Destruir (Design and Destroy) is the second album by Varsovia, an electronic punk project created in Lima at the beginning of 2012 by Dante Gonzales (synthesizers), Fernando Pinzás (synthesizers), and Sheri Corleone (guitar, vocals). Unlike their celebrated debut album Recursos Inhumanos (Inhuman Resources) (BR 065LP, 2014), this new production reflects a greater influence of styles such as industrial music and EBM but maintaining the sound of analog synthesizers as a principle. The lyrics follow a concept based on the period of violence that Peru experienced in the 1980s, with samples of General Juan Velasco Alvarado and songs that refer to situations such as blackouts, bombings of terrorist groups, and the uncertainty of living in the midst of the armed conflict in a city lost in chaos. The songs of Diseñar Y Destruir were recorded between 2015 and 2017 and finished during 2021. This process was marked by the exit of Corleone (when she moved to the Netherlands) and the entry of Carla Vallenas as lead singer, with whom the first version of the album was recorded, and a promotional video was released. During this period, the band shared the stage with important artists such as She Past Away, Sixth June, Ash Code, Mueran Humanos, or the legendary group of the '60s, Silver Apples. After a few years of activity, Carla Vallenas left the band, and both Dante Gonzales and Fernando Pinzás went on to work on different personal projects. Until 2021, when, after a brief activity of Varsovia as a duo, they decided to re-record the album with Sheri Corleone on vocals and guitar, marking the return to the original formation of the group. Varsovia has gathered great international attention in recent years thanks to the inclusion of a song from its first album in the soundtrack of the HBO series Los Espookys. The band was again invited to include a new song in the second season of the series, which premiered during 2022. Includes guest musicians such as Mexican saxophonist Martín Escalante and guitarist Óscar Reátegui of the legendary band Dios Hastío. It was recorded and mixed at Paraíso del Silicio by Dante Gonzales and mastered by Alberto Cendra at Garden Lab Audio. Cover art by About Studio. Edition of 500.
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LP
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BR 166LP
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Light Became Light is the debut album from Puppies in the Sun, a project composed of Alberto Cendra (synthesizers) and Cristóbal Pereira (drums), both originally from Peru and currently based in Rotterdam. Friends since childhood, they crossed paths again in Barcelona by sheer coincidence. This spontaneous pulse is also what dictated the beginnings of the project's characteristic sound: lengthy improvisational and sound exploratory sessions which are summed up in the project's first two EPs (Unheard EP and The Church of Puppies in the Sun, 2018). Light Became Light is Puppies in the Sun's statement towards bringing the improvisation's spontaneity and unruliness into a new phase in order to come up with their first full length. Like other well-known duos, Puppies in the Sun maximizes their compact instrumentation to establish themselves as a (noise) rock band without the presence of guitars or bass guitars. Far from being a limitation, this has provided them with great freedom. The lower end of the album's soundscape is triggered on Cendra's synthesizer scheme by Pereira's drums. This is one of the characteristics that emerge from the organic, minimal and spontaneous style of the band. As if it was a rocket, Light Became Light takes off in search of a sound and a space that pays tribute to cosmic rock and synthesizer music without leaving the melodic rawness of noise rock or even black metal behind. Some might also perceive an atmosphere that owes its existence to techno parties and a slight wink towards folk imagery. If there is anything that makes their sound iconic is the call for constructing wild and festive ambiances, state of trance and agitation. Light Became Light was recorded and mixed by Oscar Moreno at El Purgatorio (Madrid, Spain). In the middle of an intense heat wave, Puppies in the Sun locked themselves through the course of two weeks to record and process various analog and digital synthesizers, pianos, drums, and vocals, to later mix Light Became Light in a classic analog console. Artwork by the band itself and designed by Fernanda Binvignat. Edition of 300.
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BR 167LP
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The story of Del Cuarto Rojo (From the Red Room) began in March 2020, when the Peruvian composer and percussionist Manongo Mujica received a call notifying him that the visual artist Rafael Hastings, his friend of almost half a century, had passed away. Since then, and in the midst of the pandemic, Manongo Mujica began a personal journey searching for sounds, which has resulted in a new set of pieces that evoke the memory of a friendship. Del Cuarto Rojo (From the Red Room), subtitled Homenaje sonoro escuchando la pintura de Rafael Hastings (Sound Tribute Listening to Rafael Hastings' Paintings), is Manongo Mujica's new album, and it has also motivated the preparation of a new show by the dancer and choreographer Yvonne von Mollendorff, wife of Hastings. The history of this friendship dates back to 1974, when a young Manongo returned to Lima, after ten years living in London, while young Rafael Hastings and Yvonne von Mollendorff settled in Peru after a long period in Europe. Since then, the collaborations between these artists have been continuous, always marked by an experimental impetus. The attitude of listening to images and painting sounds was more than a metaphor and became a code that identified them and a way of working, where the crossing of disciplines set the tone, both in video works and in unusual visual/conceptual scores, works of dance and experimental music, in the context of a creative effervescence that renewed the arts and music in Lima in the '70s. Del Cuarto Rojo is an album that integrates many of the musical resources developed by Mujica. It is an amalgam that well sums up his own language: from the creation of environments with extended techniques and objects, to experiments in jazz fusion; from the use of field recordings and sound montages to compositions with string arrangements: everything around the hypnotic pulse of percussion and drums, which oscillate between moments of subtlety and explosive improvisation. The album features the participation of outstanding musicians such as Pauchi Sasaki (violin), José Quezada (cello), Terje Evensen (electronic effects), Jean Pierre Magnet (saxophone), Cristobal, Daniel, and Gabriel Mujica (sons of Manongo Mujica, on percussion, string, and wind arrangements). Includes a full color 12-page booklet with a sample of Rafael Hastings's visual art, which also illustrates the album cover.
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BR 162LP
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Ayahuasca: Music for Film, by Luis David Aguilar (1978-1983) compiles works by Luis David Aguilar, one of the most prolific composers of film scores in Peru. It shows the great versatility and avant-garde style that has distinguished his work. Luis David Aguilar (Arequipa, 1950) occupies a fundamental place in the history of film music in Peru, not only because of the prolific nature of his work (which also includes music for television and advertising), but because of the singular, experimental style found in many of his scores. Aguilar's music blends modern academic composition with the use of native instruments, synthesizers, sound collages, and a diversity of resources, which identify him as a key figure to understand a period of Peruvian music marked by the imprint of the avant-garde and the use of native sounds, which developed during the late '70s and the early '80s. Aguilar belongs to the so called "Generation of the '70s", along with Peruvian composers such as Walter Casas, Seiji Asato, and Aurelio Tello, who were then immersed in the languages of contemporary classical music. But he also shares the spirit of renewal of a generation of musicians who came from the world of jazz and electronic experimentation such as Manongo Mujica and Arturo Ruiz del Pozo. Ayahuasca is an album that collects pieces from 1978 to 1983 and offers an overview of the different musical paths that Aguilar followed during his career as a soundtrack composer. The album opens with music from the film El viento del ayahuasca (The Wind of Ayahuasca) (1983), by director Nora de Izcue, performed by the National Symphony Orchestra and Choir of Cuba under the baton of Luis David Aguilar, with Chucho Valdés on piano. It is an ambitious orchestral and vocal composition, in which you can hear the beginning of the famous melody of "Mujer Hilandera" (Female Weaver), popularized by the Amazonian cumbia group Juaneco y su Combo. The next track is the music for the documentary Anónimo cotidiano (Anonymous Everyday) (1979), by director Jorge Rey, a unique experimental piece for synthesizers (played by Aguilar), drums and percussion (played by Manongo Mujica), with the addition of various Andean instruments (panpipes, charango, among others). And finally, Los Constructores (The Builders) (1978), by director José Carlos Huayhuaca, a salsa which incorporates unusual sounds of tubular bells and prepared pianos. Remastered audio from the original reel tapes by Aldo Montalvo. Includes a booklet with notes by Luis David Aguilar; edition of 300.
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