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LP
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BR 121LP
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Buh Records present a new album by Peruvian composer and musician Miguel Flores. Lorca: Lost Tapes (1989-1991) recovers unpublished recordings made for stage works inspired by the life and work of the great Spanish playwright, Federico García Lorca. It is an atmospheric and minimalist album, where you'll find flamenco airs, Andean and Afro- Peruvian sounds, vocal experimentation, and various sound effects, all stitched together in a simple but creative studio montage, which turns these pieces into a dreamy landscape. A member of several rock bands in the Seventies, Flores began an intense period of sound experimentation towards the end of that decade, building a large archive that has remained unpublished. His experimental work became known internationally with the publication of Primitivo" (BR 068LP, 2015), which rescued unpublished recordings of 1983, only presented live at the time, and which represents a high point in the fascinating movement of Peruvian experimental music from the late Seventies and early Eighties, animated by such artists as Arturo Ruiz del Pozo, Manongo Mujica, and Luis David Aguilar. Andean and Amazonian sounds, ancestral evocations, coexisted with the instrumentation and musical resources of free improvisation, concrete and cosmic music. Lorca: Lost Tapes (1989-1991) is published for the first time, and in vinyl format, as part of the Essential Sounds collection, with which Buh Records presents a series of fundamental works of the Peruvian musical avant-garde.
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LP
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BR 068LP
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Miguel Flores is, alongside musicians such as Arturo Ruiz Del Pozo, Luis David Aguilar, or Manongo Mujica, one of the most important representatives of that period that spans from mid-70s to mid-80s, when experimenting musically in Peru united modern composing techniques of avant-garde music and the search of the sounds of mother land. A drummer turned into a multi instrument player, who began by playing rock from mid '60s on, with groups such as The Loop's, Thee Image, and most pointedly with PAX, iconic hard rock band of the '70s, Miguel Flores tackled Peruvian folk music by 1974 with his group Ave Acustica, which included non-conventional musical techniques into their performances. Those were times when folk music was widely promoted, as a consequence of the policies of Juan Velasco Alvarado's nationalistic policies. The appearance of the Talleres de la Canción Popular, headed by Celso Garrido Lecca, in 1974, was decisive to brood a new generation of folk and new song groups. In this environment, and after leaving PAX, Miguel Flores goes deep into his interests in folk and sound experiments as well as free jazz, his attempts to fuse what was considered could not be fused, being rejected by all sides equally. Upon his return to Lima, after an intense tour to Japan in 1980, Miguel Flores was commissioned by choreographer Luciana Proaño to write the score for her new contemporary performance Mitos Y Mujeres. Miguel Flores called Corina Bartra, Arturo De La Cruz, Manuel Miranda, and Aberlardo Oquendo to play the music which brought together folklore and psychedelia, free jazz, electronics, tribal music and ashaninka chants. A hypnotic sound stretches a bridge between ancient and avant-garde, the spirit of psychedelic rock, free jazz and pure sound experimentation. The studio recording of what was the score for Mitos Y Mujeres was kept away for more than 30 years. Now finally has its first edition on LP. This LP is part of Buh Records' Sounds Essentials Collection, curated by Luis Alvarado.
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