{"title":"Buh","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eBuh Records is an independent label based in Lima, Peru. Founded in 2004 by Luis Alvarado, the label has been actively promoting and supporting experimental music and new sounds for over a decade. With a focus on pushing boundaries and exploring uncharted territories, Buh Records has become a hub for innovative artists and performers from around the world.\u003c\/p\u003e\n\u003cp\u003eSince its inception, Buh Records has been dedicated to showcasing unique and groundbreaking music that challenges traditional norms. The label's commitment to fostering creativity and artistic freedom has earned it a reputation as a leading force in the experimental music scene.\u003c\/p\u003e\n\u003cp\u003eWith an impressive roster of talented *artists* spanning various genres and styles, Buh Records continues to push the boundaries of what is considered mainstream. Whether you're a fan of avant-garde compositions or cutting-edge electronic beats, Buh Records offers a diverse range of releases that are sure to captivate your musical senses.\u003c\/p\u003e","products":[{"product_id":"thank-you-lord-for-satan-2","title":"Thank You Lord For Satan","description":"\u003cp\u003eThank 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. Two years ago, 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. published by Buh Records in vinyl format in an edition of 300 copies. Cover art by Goster\u003c\/p\u003e","brand":"Buh","offers":[{"title":"LP","offer_id":50383963455819,"sku":"2011159","price":37.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_c80bcdb5_thumbnail_4096.jpg?v=1726280661"},{"product_id":"transitos-sonicos","title":"Transitos Sonicos","description":"\u003cp\u003eFirst 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. During these specialization trips, Peruvian composers gained access to the languages of the international avant-garde of the post-war period. 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). However, several Peruvian composers faced the dilemma of how to continue these sonic explorations locally without relying solely on specialization trips to access the infrastructure of major international laboratories. Due to the inability to establish a laboratory for electronic music production in Peru during these early decades, given the weak institutional framework of the academic music circuit and the absence of budget allocations for the National Conservatory, it was rather private initiatives in recording studios that paved the way for the sustained production of experimental pieces with electronic setups and media, largely oriented towards the production of music for film and dance. This was accompanied by 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), part of his series \"Composiciones Nativas,\" concrete music pieces based on native Peruvian instruments. Upon returning to Lima, he continued producing music for films using electronic sounds and setups. 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, which mixes native and Western instruments amplified and processed electronically. He would be one of the first to have a private recording studio. Corina Bartra, after being part of various improvisation ensembles alongside musicians such as Ruiz del Pozo and Aguilar, 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. Sonic Transits: Electronic and Tape Music by Peruvian Composers (1964-1984) is part of the Essential Sounds Collection series produced by Buh Records for Centro del Sonido, a website set up as a digital archive of Peruvian experimental music and sound art. The 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. Mastered by Alberto Cendra. Art and design by Gonzalo de Montreuil.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"Black LPx2","offer_id":50403999613259,"sku":"2218420","price":46.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_67e0ae61_thumbnail_4096.jpg?v=1726565604"},{"product_id":"el-perfecto-ruido","title":"El Perfecto Ruido","description":"\u003cp\u003eThe complete recordings of Los Yndeseables are published here for the first time. El Perfecto Ruido, a historical document, as it is one of the first Peruvian DIY records. “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. 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. El Perfecto Ruido is published by Buh Records in vinyl LP format in an edition of 300 copies, with 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.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"LP","offer_id":50470152470859,"sku":"2020198","price":43.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a1507572188_10_cb4548bf_thumbnail_4096.jpg?v=1727373361"},{"product_id":"anamnesis","title":"Anamnesis","description":"\u003cp\u003e\u003ci\u003eAnamnesis\u003c\/i\u003e 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. \u003ci\u003eAnamnesis\u003c\/i\u003e 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 \u003ci\u003ePerversión\u003c\/i\u003e, one of the album's highlights. \u003c\/p\u003e","brand":"Buh","offers":[{"title":"Black | LP","offer_id":50475082744139,"sku":"1108290","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/305c4e65-bc7b-4db0-90a1-ffae29affecb_thumbnail_4096.jpg?v=1727442346"},{"product_id":"alrededor-de-la-humisha","title":"Alrededor De La Humisha","description":"\u003cp\u003eThis compilation presents for the first time together the main groups of Amazonian popular music. Include indisputable classics from the Amazonian repertoire such as \"La leyenda del pífano\" by Adolfo Sandoval in the masterful interpretation of the Dúo Loreto and \"El Pucacuro\" by the Amazonian diva Flor del Oriente. 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 presented, such as the pandilla, the chimaychi and the sitaracuy, which are typically performed in carnivals and regional Amazonian festivals. \u003c\/p\u003e\u003cp\u003eThese 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 neighbouring 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. \u003c\/p\u003e\u003cp\u003eThese 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, and the launch of The Music of the Lamista Kechwas: Recordings of the Native Communities of Lamas, Buh Records presents this new volume dedicated to exploring this fascinating universe of traditional music from the Amazonian jungle, and this time with the launch of a collection and platform called Central Amazónica, which will be dedicated exclusively to the rescue of musical gems from the Peruvian Amazon.\u003c\/p\u003e\u003cp\u003eThis album is released on vinyl LP format, with extensive information and visual documentation. Compilation and notes by Luis Alvarado. Art by René Sánchez.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"Black | LP","offer_id":50476538626379,"sku":"1154913","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/3c13fb48-4cd5-4388-ae5d-572634b922f7_thumbnail_4096.jpg?v=1727460771"},{"product_id":"aquatic-and-other-worlds-1983-1989","title":"Aquatic and Other Worlds (1983-1989)","description":"\u003cp\u003e\u003ci\u003eAquatic and Other Worlds (1983-1989) \u003c\/i\u003emarks the debut release proper by Oksana Linde. The daughter of Ukrainian immigrants to Venezuela, Oksana was born in Caracas, 1948 and began making electronic music in the early '80s. \u003c\/p\u003e\u003cp\u003eWith benefit of hindsight, it's quite possible to identify Oksana as Latin America's answer to Delia Derbyshire, Suzanne Ciani or Laurie Spiegel. 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. \u003c\/p\u003e\u003cp\u003eIn 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.\u003c\/p\u003e\u003cp\u003eOksana 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. \u003c\/p\u003e\u003cp\u003eThe early work of women in electronic music in Latin America is one of those areas that has yet to be worked in depth, but happily research has already started. 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. The work of Oksana Linde and the publication of this album provide an opportunity to get closer to an unexpected universe of sounds, a sign of another history that is yet to be written. Compiled by Luis Alvarado. Includes notes by Oksana Linde, Ale Hop, and Luis Alvarado. Available on a Limited edition of 300 copies on vinyl.\u003c\/p\u003e\u003cp\u003eCompiled by Luis Alvarado. Includes notes by Oksana Linde, Ale Hop, and Luis Alvarado.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"Black | LP","offer_id":50476619137355,"sku":"1153552","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e96ac2ca-02db-4857-b9c5-79d84d9da481_thumbnail_4096.jpg?v=1727461588"},{"product_id":"sintomas-de-techno","title":"Sintomas De Techno","description":"\u003cp\u003eThis compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. \u003c\/p\u003e\u003cp\u003eProjects 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: viscerally, 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.\u003c\/p\u003e\u003cp\u003eThe 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 Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"Black | LP","offer_id":50476759581003,"sku":"1157684","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/def66d66-2e6a-4049-b967-3fbec637300b_thumbnail_4096.jpg?v=1727463556"},{"product_id":"implosiones","title":"Implosiones","description":"\u003cp\u003eThe sound of Búho Ermitaño is an evocation of the psychedelic sound of Peruvian Andean folk rock from the 70s. On his second album, Búho Ermitaño opens his sound towards the song format and the use of synthesizers. \u003ci\u003eImplosiones\u003c\/i\u003e 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 in bursts of cosmic rock. \u003ci\u003eImplosiones\u003c\/i\u003e 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 colour, 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 \u003ci\u003eImplosiones\u003c\/i\u003e, 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 neopsychedelia, unlike their first album, the inclusion of vocals in song format is now present, opening up a new creative path. \u003ci\u003eImplosiones\u003c\/i\u003e 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. \u003ci\u003eImplosiones\u003c\/i\u003e has been recorded and mixed by Camilo Uriarte at Eco Estudio, and mastered by Alberto Cendra and Camilo Uriarte. It is produced by Búho Ermitaño and Camilo Uriarte. Released by Buh Records in a limited vinyl pressing of 300 copies. Art by About Visual Studio.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"LP","offer_id":50483116867915,"sku":"2027380","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/y1htH_Tg_4abb73e2_thumbnail_4096.jpg?v=1727561560"},{"product_id":"agua-dulce","title":"Agua Dulce","description":"\u003cp\u003eA meeting of Afro-Peruvian percussion with electronic experimentation. Laura Robles, percussionist with a long history in the world of jazz, and Ale Hop, guitarist and sound artist, are two of the most outstanding Peruvian artists today. Berlin-based Peruvian musicians Alejandra C?rdenas, 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 caj?n 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 caj?n and C?rdenas 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 caj?n 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 caj?n was a symbol of resistance, experimentation and transformation, so Robles and C?rdenas 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\/low 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 C?rdenas. The two musicians take the pulses of dances like Land?, Zamacueca, Festejo, Alcatraz, Lamento and Son de los diablos, electrifying and mutating them into pure textures, or reinforcing the physical character of the caj?n through repetition and distortion. 'Agua Dulce' is published through Buh Records in a vinyl edition, limited to 300 copies. Cover Art by Eduardo Yaguas.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"Black LP","offer_id":50527099421003,"sku":"2016531","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_2316070a_thumbnail_4096.jpg?v=1728051706"},{"product_id":"relikte-aus-der-zukunft","title":"Relikte Aus Der Zukunft","description":"\u003cp\u003eBaldruin's debut on Buh Records, reaffirms his skill in creating a particular approach to ambient. A combination of acoustic and electronic sounds, to produce true musical fantasies. 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. Relikte aus der Zukunft is published by Buh Records in vinyl format in an edition of 300 copies. Mastered by Alberto Cendra at Garden Lab Audio. Cover art by Johannes Schebler.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"Black LP","offer_id":50531044753739,"sku":"2027395","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2YVfDIQ_76663c0c_thumbnail_4096.jpg?v=1728091116"},{"product_id":"historias-de-frio","title":"Historias De Fro","description":"\u003cp\u003eOriginally released in 2014, \u003ci\u003eHistorias de Frío\u003c\/i\u003e has become a landmark album in recent Ibero-American shoegaze. The vinyl re-release of \u003ci\u003eHistorias\u003c\/i\u003e \u003ci\u003ede Frío\u003c\/i\u003e includes the bonus tracks \"Titán\" and \"Doppelgänger.\" \u003ci\u003eHistorias de Frío\u003c\/i\u003e, 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.\u003c\/p\u003e\u003cp\u003eTen years ago, Sexores released their second album, a work that, in essence, was the first step in consolidating their discography. Without thinking much about what that material would mean to the public, and from the solitude of exile, the band embarked on a tour of several cities in Europe and the United States, besides releasing a series of CD copies that eventually sold out once that ethereal and melancholic album became a favourite of many. \u003ci\u003eHistorias de Frío\u003c\/i\u003e 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, \u003ci\u003eHistorias de Frío\u003c\/i\u003e 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.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"Black LP","offer_id":50860212650315,"sku":"2227511","price":33.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_6959a01c_thumbnail_4096.jpg?v=1732017771"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_4b51cb76_thumbnail_4096_14cbf876-8980-4947-bda5-f33d3c15dca6.jpg?v=1726280643","url":"https:\/\/shop.roughtrade.com\/de\/collections\/buh.oembed","provider":"Rough Trade","version":"1.0","type":"link"}