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viewing 1 To 25 of 45 items
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BR 149LP
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$32.00
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RELEASE DATE: 8/26/2022
Síntomas De Techno presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble, and Reacción were responsible for introducing styles such as techno pop, EBM, industrial, and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called "Rock Subterráneo" (underground rock), these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí, and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: visceral sound, mechanical rhythms, and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior, and Reacción), were in fact affiliated to an electronic sound (techno pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas De Techno (Symptoms of Techno) represented an important step towards the development of a local culture of electronic music during the '90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Buh Records' Essential Sounds Collection, making available a vast archive of avant garde, Peruvian music. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. Includes extensive information and visual documentation; edition of 300.
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BR 163LP
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$32.00
PREORDER
RELEASE DATE: 7/22/2022
La Música De Los Kechwas Lamistas: Registros Sonoros De Comunidades Nativas De Lamas (The Music of the Lamista Kechwas: Recordings of Native Communities of Lamas) compiles various recordings made by Los Abuelos del Wayku, a traditional group made up of the oldest musicians from the native communities of Lamas: Medardo Cachique, Reynaldo Amasifuén, Misael Amasifuén, Daniel Sangama, Remigio Sangama, and Pedro Cachique. The selection and recording process has been carried out by the Tarapoto musician and researcher Percy Alexander Flores Navarro. These performances seek to recreate the most indigenous musical performance styles of the various musical genres practiced throughout the Lamista Kechwa nation since colonial times, as well as the foreign and national musical trends incorporated by these communities during the first half of the 20th century. Thus, this album aims to be a chronicle of the historical processes that took place in the region, as well as a guide to the cultural diversity of the Peruvian Amazon. Some of the musical genres present in these recordings are: the Christmas Carol brought by the Jesuit missionaries during the 16th century; the Amazonian pandilla and the various musical forms that comprise it since colonial times; the marinera, adapted to the Andean-Amazonian ensemble at the beginning of the 20th century; rock and roll, which was reinterpreted as the Lamista twist in the middle of the last century, and many other musical genres that constitute the repertoire of traditional and popular music of the native communities of Lamas. After the success of the anthology The Fabulous Sound of Andrés Vargas Pinedo (BR 147LP, 2021), and the launch of the anthology Around the Húmisha: The music of the traditional Amazonian groups of Peru (BR 159LP), Buh Records presents this new volume, dedicated to the music of the native communities of Lamas, and this time with the launch of a collection and platform called Central Amazónica, which will be dedicated exclusively to the rescue of various musical expressions of the Peruvian Amazon. Includes extensive information and visual documentation. Compilation and notes by Percy Alexander Flores Navarro. Art by René Sánchez.
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BR 159LP
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$32.00
PREORDER
RELEASE DATE: 7/22/2022
Around the Húmisha: The music of the traditional Amazonian ensembles of Peru is a compilation that brings together for the first-time various groups formed between the mid-60s and early '80s, which defined the sound of the popular music that emerged in the Peruvian jungle. Here, genres of indigenous Amazonian roots are represented, such as the pandilla, the chimaychi, and the sitaracuy, which are typically performed in carnivals and regional Amazonian festivals. These gatherings always culminate around a húmisha tree, a representative element of these celebrations, which is surrounded by a troupe of dancers who cut it down to the rhythm of a pandilla. Based on these native genres, these traditional ensembles were nurtured by diverse influences, coming from the Andes (huaynos), the Peruvian coast (creole waltzes), as well as from neighboring countries such as Brazil (samba, tanguiño), Colombia (cumbia), and Ecuador (sanjuanitos). The music is performed using the traditional instrumentation of quena, bass drum, and snare drum, sometimes supplemented with violin, clarinet, saxophone, guitar, and maracas. This compilation brings together songs from Conjunto Selva Alegre, Flor del Oriente y su Conjunto, Los Guacamayos, Los Solteritos, Dúo Loreto, Los Pihuichos de la Selva, Los Ribereños del Huallaga, Conjunto Esperanza de San Martín, Conjunto Típico Corazón de la Selva, Jibarito de la Selva con Los Mensajeros de la Selva, and Los Hijos de Lamas. These groups released records on the main Peruvian labels of the '70s and '80s; today, those albums are true collector's gems, hard to come by. Here we find some indisputable classics from the Amazonian repertoire such as "La leyenda del pífano" by Adolfo Sandoval in the masterful interpretation of the Dúo Loreto, "El Pucacuro" by the Amazonian diva Flor del Oriente, the highly popular "Salta Yanasita" by the Conjunto Selva Alegre, as well as the classic "Alegría en la selva" by the Conjunto Típico Corazón de la Selva, a true Amazonian anthem. Following the success of the anthology The Fabulous Sound of Andrés Vargas Pinedo (BR 147LP, 2021), and the launch of The Music of the Lamista Kechwas: Recordings of the Native Communities of Lamas (BR 163LP), Buh Records presents this new volume dedicated to exploring this fascinating universe of traditional music from the Amazonian jungle. Features extensive information and visual documentation. Compilation and notes by Luis Alvarado. Art by René Sánchez. Also features Eliseo Reátegui y Los Solteritos, Jibarito de la Selva, and Los Hijos de Lamas.
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BR 160LP
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$31.50
PREORDER
RELEASE DATE: 6/24/2022
Oksana Linde belongs to the same creative trail started by artists such as Delia Derbyshire, Suzanne Ciani, or Laurie Spiegel, because like them she knew how to create a personal universe by exploring electronic sounds and to find a place in an eminently masculine environment. Aquatic And Other Worlds is her first album, which compiles electronic synthesizer pieces recorded between 1983 and 1989. Born in Caracas, Venezuela, in 1948, into a family of Ukrainian immigrants, Oksana Linde's work became known at the beginning of the '80s, coinciding with the emergence of a new scene of Venezuelan electronic synthesizer music, with names such as Ángel Rada, Miguel Noya, Musikautomatika, Vinicio Adames, Oscar Caraballo, Aitor Goyarrola, and Jacky Schreiber. In 1981, at the age of 33, Oksana Linde left her job as a researcher due to health issues and began to devote more time to music and painting. She borrowed a Polymoog synthesizer, then a TEAC open reel tape recorder and a Moog Source. With this equipment she set up her small home studio and began to compose her first pieces around 1983-1984. She eventually expanded her equipment, acquiring a 16-channel mixer, a Roland Tape Echo, a TR-505 drum machine, a Korg M1, and years later a Korg TR-88. Between 1984 and 1986 she recorded more than 30 pieces. Between 1989 and 1996 she continued to produce another 30 pieces, thus accumulating a large archive that has remained unpublished. Oksana Linde's music can be intensely hypnotic and psychedelic, but also melodic and playful. Linde programs and plays all the instruments and develops melodic lines that are superimposed on loops and sequences, as well as various layers of reverberant and floating sounds that come and go, and always establish a very cinematic narrative, very typical of the tradition of synthesizer music. The early work of women in electronic music in Latin America is one of those areas that has yet to be worked in depth. In Latin America, the introduction of the synthesizer in experimental, progressive and electronic music from the '70s on, is associated almost exclusively with male figures, which is why the work of Oksana Linde gains particular relevance, as she establishes herself as a figure who breaks that hegemony, and whose extensive production in turn places her as one of the most prolific and notable exponents of synthesizer music in Latin America. Compiled by Luis Alvarado. Includes notes by Oksana Linde, Ale Hop, and Luis Alvarado. Art by René Sánchez. Edition of 300.
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BR 157LP
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Gurun Gurun is made up of Tarnovski, Tomás Knoflíček, Federsel, and Ondřej Jezek who took their name from the fictional planet in the old school Slovak children's TV show She Came Out of the Blue Sky. Since the beginning, it has been clear that apprehending their working and reflecting it would be a tough nut to crack. Is this even a band? Do they play compositions or is it all improvised? On the stage, you see four men hunched over tables overflowing with strange objects, hard-to-identify electronic devices, musical and non-musical instruments, and a chaotic tangle of cables, producing slow, constantly developing melodies and a hypnotic atmosphere that works a little like falling through a strange wormhole full of sounds, noises, and soft female vocals, mercilessly sucking you in, forcing you to collapse into yourself and enter a parallel universe. This new album, Uzu Oto, featured the Kyoto-based singer Cuushe and Asuna, a sound artist from Kanazawa, was also created in concert -- each track at a different show. Despite this fact, GG do not consider it a traditional live album. And as this group generally exists independently of the common conception of time, the history of the new recording reaches back to before their previous record, Kon B (HOMEN 074CD, 2015). Attending a Gurun Gurun concert is like taking part in an expedition by a pack of monkeys to explore the wreckage of a spaceship that was shipwrecked a long time ago. Their improvised live sets are a mix of post-club-music deconstruction, metamorphosed acoustic and electronic sounds, generative music, and musique concrète. This is also the spirit of Uzu Oto. No, this is not music to play while you wash the dishes. Or perhaps it is, but you have to factor in the fact that the dishes will become a tangle of roots, threads, ropes, lianas, and spider webs. And that your entire kitchen may well catch on fire. Mixed by Tarnovski. Mastered by Jezek. Artwork by Petr Válek. Edition of 300.
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BR 148LP
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First compilation brings together the Peruvian experimental scene from 1975 to 1988, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music, sought to integrate the sounds of Andean, Afro-Peruvian, and Amazonian cultures in search of a new musical universe. Native instruments and folk melodies were used in compositions that demanded modern recording techniques and electronic sounds. This generation was articulated in Lima and was made up of musicians such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Julio Algendones "Chocolate", and Corina Bartra. But more than a movement, it was a set of individuals from dissimilar origins, who came from rock, jazz, contemporary classical, and popular music, but also from the visual arts and poetry, and who had in common the cultural climate of the late seventies and early eighties in a country marked by a series of social and economic transformations, as well as the emergence of new visions and insertions of Andean culture and folklore in the city. The appearance of a mythical substrate connected the work of these musicians and defined an aesthetic, based on the deconstruction of folklore and the exploration of the possibilities that indigenous instruments offered. From there, these musicians immersed themselves in abstract, but also symbolic and conceptual forms. In many cases, they were strongly influenced by jazz and were keen to explore the possibilities of the recording studio. Territorio Del Eco: Experimentalismos & Visiones de lo Ancestral en el Perú (1975-1989) -- The Land of Echo: Experimentalisms and Visions of the Ancestral in Peru (1975-1989), in English -- is a compilation that offers an overview of what was one of the moments of greatest creative intensity for experimental music in Peru in its encounter with indigenous sounds. A collection of unpublished and loss pieces, rescued from private archives and limited editions on cassette, these pieces are reissued for the first time in vinyl LP format. Includes eight-page booklet with extensive notes written by Luis Alvarado, author of the compilation, as well as much visual documentation. Cover art by Paloma Pizarro. Beneficiary project of the Economic Stimuli for Culture of the Ministry of Culture of Peru. Edition of 300.
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BR 142LP
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Buh Records presents Gnose, the joint full-length by the solo acts of Paula Rebellato (Rakta) and Douglas Leal (Deafkids), members of two of the most thriving and groundbreaking bands coming out of Brazil to the world lately. Produced between 2019 and 2020 in São Paulo, Brazil, some of the compositions were first conceived for a live performance in late 2019 and then expanded into a full-length album, part recorded in studio and part at home during the first months of the pandemic. Inspired by the ritualistic potentials of music, Gnose offers a vertical and circular narrative throughout its seven themes, exploring atmospheres that may contribute to experiences of displacement and inner silence. The fusion of traditional and acoustic instruments with electronic and processed sounds highlights the strong characteristics of both projects, melted into a journey within timeless soundscapes. Paula Rebellato is an artist based in São Paulo, Brazil. Her journey with music and sound started at young age and became a more consistent path when she co-founded the genre-bending group Rakta. Paula's solo project Acavernus, active since 2013, incorporates sound, visual and written language. Inspired by sounds and atmospheres that evokes strangeness and beauty, she dives into memories and encounters that leads to her own center of intuitive and instinctive expressions, always trying to work and explore different tools and materials for composing. Her work with the voice, processed by different effect pedals, takes the listener to both comfortable and uncomfortable places. Yantra is the solo project by Douglas Leal, multi-instrumentalist, visual artist and founding member of the Brazilian psychedelic punk trio Deafkids. Douglas's solo project emerged in 2015 as a psychedelic and meditative audio-visual outlet for experimental/home-recordings but has since evolved into self-released tapes and collaborative recordings, live soundtrack for yoga and meditation sessions and improvisation sets with many different artists from São Paulo. Inspired by the modal music from different cultures around the world and using the electric guitar as the main instrument for his excursions into drones, ragas, and maqams, over time Douglas began to explore the use of acoustic sounds such as native wind instruments, the Greek bouzouki, the Turkish ney, mouth harps etc., expanding the project's color palette into unknown musical paths. Artwork by Douglas Leal. Edition of 300.
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BR 146LP
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Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil). Smetak was a pioneer of musical experimentation in that country and developed, in the '60s and '70s, a musical poetics that was captured in two seminal albums, Smetak (1974) and Interregno (1980), both of which, after being out-of-print for a long time, have been reissued today, hence the motivation for this tribute. On those two albums, Smetak combined Afro-Brazilian ritual traditions, theosophy, microtonality studies, collective improvisation and the use of unconventional musical instruments, which he called "Plasticas Sonoras". Smetak came to build around 150 acoustic instruments, many of which are true sound sculptures of great visual impact. This latter aspect is the most directly evoked one on this album -- and it so happens that the Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers", artists who build their own instruments (Marco Scarassatti, Phillipp Laeng, Maria Anália), lead them towards radical extended versions (Ruben Dhers, Claudio Merlet), develop hybrid projects involving instruments and sound sculpture (Javier Bustos, Álvaro Icaza and Verónica Luyo, Juan Pablo Egúsquiza, Edgardo Rudnitzky) or take the exploration towards the building of resonant machines (Nicole L'Huillier, O Grivo, Zimoun, Cod.Act), without these categories being mutually exclusive, but rather tending to mix, thereby opening up new sonic possibilities. This new community of artists has begun to create a whole new field of research and, in a way, a new discipline, understandable within the context of this new paradigm opened by the maker culture, which has pushed creators and developers from all over the world to conceive alternative -- anti-hegemonic and DIY -- forms of production. Therefore, this collection allows the artists to evoke Walter Smetak but also to connect his work to this new scene -- to which it precedes -- a link for this new art that makes its way at some point among the work of experimental luthiers, sound art, experimental music and the DIY ethics. Curated by Luis Alvarado and Chico Dub. Art by René Sánchez. Edition of 300.
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2LP
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BR 138LP
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Mesías Maiguashca is a relevant figure on the map of contemporary avant-garde composers. Born in Ecuador but currently based in Germany, he has been a composer who, since the '60s, would constantly expand his possibilities in fields such as electronic music (where he stands out as a pioneer), mixed works, expanded interdisciplinary pieces and the creation of unconventional instruments, where the encounter between his country of origin's popular folkloric tradition and the new European music has produced a universe of tension, as fascinating as it is startling. Música Para Cinta Magnética (+) Instrumentos (1967-1989) presents for the first time a sample of the essential work of Maiguashca, covering a period that goes from 1967 to 1989. This is the first of a new collection, a new series of albums that seeks to document the extensive recorded work of Maiguashca, with pieces that date from the mid-60s to the present. This first release is a good introduction to understand the various aesthetic options developed by the artist throughout his career. It includes his historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay" (1971), which are early references for electronic music in Latin America, and also mixed pieces, such as "Intensidad y altura" (1979) for six percussionists and magnetic tape, "The wings of perception" (1989) for a string quartet and tape, and "Nemos Orgel" (1989) for organ and magnetic tape. Mesías Maiguashca studied at the Quito Conservatory, the Eastman School of Music (Rochester, N.Y.), the Di Tella Institute (Buenos Aires) and the Musikhochschule Köln (Cologne). He has made recordings at the WDR music studio (Cologne), Center Européen pour la Recherche Musicale (Metz), the IRCAM (Paris), the Acroe (Grenoble) and the ZKM (Karlsruhe). In 1988, together with Roland Breitenfeld, he founded the K.O.Studio Freiburg, a private initiative for the cultivation of experimental music. He has been living in Freiburg since 1996. Mastering: Alberto Cendra at Garden Lab Audio. Design by Martín Escalante. Includes photos and detailed information on the pieces; Liner notes by Mesías Maiguashca and Fabiano Kueva; edition of 300.
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BR 147LP
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Andrés Vargas Pinedo is a prominent composer of Amazonian popular music from Peru. He is blind and has excelled as a player of the quena and the violin. He was born in the city of Yurimaguas but he developed as an artist in Lima, for thirty years he has worked as a traveling musician on a street in the San Isidro district of Lima. Throughout his career, he has formed and joined various popular music groups. This compilation presents fifteen songs of his authorship, belonging to his first two groups: Conjunto típico Corazón de la Selva and Los Pihuichos de la selva, active between 1965 and 1974, and which helped define the sound of Amazonian popular music. These years saw the emergence of an Amazonian popular music movement led by Vargas Pinedo as well as groups such as Los Solteritos, Flor del Oriente, or Selva Alegre. These artists based their music on the rhythms of the Amazonian folklore (pandilla, sitaracuy, movido, cajada, chimayche) and were nourished by influences from the coast and the highlands of Peru, as well as by the tropical rhythms of Brazil, Colombia and Ecuador, achieving a musical synthesis that is an invitation to collective celebration and endless dance. A sound that is defined by a constant and hypnotic rhythmic base of kick and snare drums, upon which the quena and violin develop imaginative melodic lines. Sometimes there is a singing voice, sometimes the voices playfully appear as sounds that identify Amazonian popular speech or that emulate jungle animals. The fifteen tracks gathered in El Fabuloso Sonido De Andrés Vargas Pinedo: Una Colección De Música Popular Amazónica (1966-1974) (The fabulous sound of Andrés Vargas Pinedo: A collection of Amazonian popular music) are a good introduction to the work of an essential creator of Peruvian music, whose sound expresses the spirit of the Amazonian people and summarizes the transition from tradition to the popular in the context of the emergence of a record industry of Amazonian music. Andrés Vargas constitutes a fundamental basis for the music of the Amazon, as his work synthesizes diverse influences, having that original root as its main motive. This compilation is presented in vinyl format and includes a brochure with extensive information and photos. The audio has been remastered directly from the original tapes. Edition of 300. Art by Jordy García (Blumoo Posters).
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BR 154LP
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La Revolución Y La Tierra is a Peruvian documentary film that became an unprecedented success in Peru, after its premiere in 2019, turning into the most-watched Peruvian documentary of all time. Directed by Gonzalo Benavente Secco and produced by Autocinema, the film offers a vision of one of the defining chapters in recent Peruvian history: the Agrarian Reform, a law enacted by the government of Juan Velasco Alvarado in 1969 (within the context of the so-called "Peruvian Revolution"), which marked a before and after in a history of struggles for the land and citizenship in Peru. La Revolución Y La Tierra is a film about these struggles and the imageries built by Peruvian cinema throughout time. The soundtrack was made by Santiago Pillado-Matheu, a versatile Peruvian musician and sound artist, founder of the psychedelic rock group El Hombre Misterioso, and creator of sound installations having memory as theme. In this soundtrack, Pillado-Matheu develops a musical universe based on the use of Andean sounds, in evocative landscape pieces of melodic and ritualistic ambient and drone music, which progressively incorporate sound collages, using samples of peasant leaders' voices and footage from the film. You can also find electronic pieces that make a nod to the synthesizer music of the '70s, as well as psychedelic rock discharges and pieces of a hypnotic Afro-Latin lounge, which give unity to this sound mosaic that also greatly evokes the sound of an era, and that, having acclaimed Peruvian soundtracks such as Cholo, by El Polen, or Venas de la Tierra by Luis David Aguilar -- both released by Buh Records -- as a precedent, adds a new item to a series that seeks to disseminate milestones of film music made in Peru. La Revolucion Y La Tierra by Santiago Pillado-Matheu is released by Buh Records, with the support of Autocinema. Art by Goster. Edition of 300.
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BR 144LP
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Buh Records present a reissue of Walter Smetak's Smetak, originally released in 1974. Walter Smetak was a Swiss cellist, composer, inventor of musical instruments, sculptor and writer who developed his career in Salvador, Brazil, and became an emblematic figure of the Bahian avant-garde and a key part of the cultural climate that made the rise of tropicália possible. Since 1969, he has carried out various workshops of experimental music at University of Bahia. His music was materialized in two albums: Smetak (1974) and Interregno (1980). Smetak was produced by Caetano Veloso and Roberto Santana, with the support of Gilberto Gil. There he unfolded a radical sound universe, based on the investigation of Afro-Brazilian ritualistic traditions, microtonality studies and collective improvisational open processes, always under the influence of theosophy, which he discovered in Brazil, and which allowed him to generate a symbolism represented in the construction of his own unconventional instruments, many of them of a sculptural nature, made with unusual materials such as PVC pipes, pumpkins and polystyrene foam, which he called plásticas sonoras. Around 150 instruments were created by Smetak, many of them in a surrealist style. They have been exhibited on various occasions in museums and galleries. His music was often based on graphic scores, many of them of great beauty. In addition to Smetak, Caetano Veloso and Roberto Santana, musicians such as Gereba, Tuzé Abreu, Djalma Correa, Capenga, among others, participated in the recording of this album. The author of one of the most important studies on Smetak, Marco Scarassatti, has written on the work of the Swiss-Brazilian artist: "His original and metaphysical work goes beyond any mysticism created around his figure. He investigated the relationship between sound and light, space and form, microtonality, collective improvisation, as a sound alchemist, a multimedia and unplugged prophet-visionary. While transforming matter, Smetak transformed himself and many of those around him." This reissue reproduces the much sought after original 1974 edition, published by Phillips. It includes the catalog of instruments used, adds a brochure with new photos and presents the remastered audio. The liner notes were written by Caetano Veloso. This project is part of Incidencias Sonoras: Coincidencia experimental music & sound art platform, by the Swiss Arts Council Pro Helvetia. Gatefold sleeve; includes eight-page booklet.
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BR 145LP
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Buh Records presents a reissue of Walter Smetak & Conjunto de Microtons' Interregno, originally published by Discos Marcus Pereira in 1980. The second album by the legendary Swiss artist and composer, based in Brazil, Walter Smetak, opened a new field of exploration within his own musical horizon. With the publication of Smetak (1974), a musical universe had been defined where Afro-Brazilian ritual traditions, studies of microtonality and open processes of collective improvisation converged, always under the influence of theosophy, which allowed him to generate a personal mythology, a religious-esoteric worldview that served as a framework for the creation of a musical symbolic universe embodied in the construction of more than 150 instruments of his own invention that he called plásticas sonoras. In Interregno (1980), Smetak radicalized some of these processes. Produced by Carlos Pita, this album features microtonal guitars, performed collectively -- another step in the use of unconventional tunings that Smetak had been exploring -- in permanent dialogue with a Yamaha electric organ that assured him the possibility of prolonged sounds. Walter Smetak was a crucial figure in the Brazilian avant-garde and a key part of the cultural climate that made the rise of tropicália possible. Caetano Veloso, Gilberto Gil and Tom Zé were his enthusiastic followers. The author of one of the most important studies on Smetak, Marco Scarassatti, has written on the work of the Swiss-Brazilian artist: "His original and metaphysical work goes beyond any mysticism created around his figure. He investigated the relationship between sound and light, space and form, microtonality, collective improvisation, as a sound alchemist, a multimedia and unplugged prophet-visionary. While transforming matter, Smetak transformed himself and many of those around him." This project is part of Incidencias Sonoras: Coincidencia experimental music & sound art platform, by the Swiss Arts Council Pro Helvetia. LP includes insert.
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BR 141LP
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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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BR 130LP
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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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BR 139LP
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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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LP
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BR 065LP
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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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BR 136LP
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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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BR 129LP
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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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2LP
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BR 132LP
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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 122LP
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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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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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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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