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Various Artists

Sintomas De Techno

    Síntomas De Techno: Underground Electronic Waves From Peru (1985-1992) This compilation 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.


    The Faust Tapes - 2022 Reissue

      There's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. Shoppers flocked in their thousands to grab a copy, raced home and then spent the next forty five minutes checking their tracking, banging the speakers and blowing the needle, all to no avail. Do not adjust your set - This is Faust.

      What was lurking within the grooves was a condensed collage of outtakes, oddities, sketches and samples previously known to the band's nearest and dearest as 'The Faust Party Tapes' - and how you wish you'd been to those parties. Cacophonous keys and roaring drones splinter into a deranged hybrid of tumbling toms and yelping vocals; committed experimentalism which in no way prepares you for the beautiful ballad which follows. Armed with acoustic guitar, playful piano and panning vocals, Faust fashion a pastoral idyll imbued with the most profound yearning.

      "Flashback Caruso" brims with Byrds-ian jangle and Syd's psychedelia, its non-sensical English lending the piece a Confucian lyricism perfect for expanded minds. And just as the soaring, searing solo suggests we're on route to eternity, the group snap, crackle and pop into another rabid découpage. Sliced and spliced between TV snippets, dissonant trumpet and the sound of someone pissing, the utterly freaky fuzz-rock of "J'ai Mal Aux Dents" sounds positively radio-friendly, far less far out than if it were encountered alone. Compared to the non-musical madness beside it, this thrash-jazz trance dance makes perfect sense, as does the corrosive breakbeat of "Two Drums, Bass, Organ", a mutant funk workout which rivals Can in an all- German dance off. The progressive and symphonic "Dr. Schwitters", dissected by fragments of dissonant process music, haunted vocal takes and the proto-industrial grind of "Elerimomuvid", charts a course for the dark side of the moon more suited to the serious cosmonauts of the world. Then the record freefalls into disorienting drum workouts, mixing desk experiments and a wicked premonition of no-wave jazz ("Hermann's Lament") before taking slight respite in the beauty of "Rudolf Der Pianist" and "I've Heard That One Before".

      The particles of prepared piano, power tools and tape echo continue to cascade through the soundspace, gradually building into the final trilogy of "Stretch Out Time", "Der Baum" and "Chère Chambre", which return to conventional song structure, albeit in the group's typically twisted style. Once again though, in comparison to the wonderfully weird pieces which precede them, these three tracks are entirely accessible, and in this lies the brilliance of the LP. It doesn't just succeed as a conceptual prank, or musical prediction, but by an expert balancing act between the profane and profound, presents its most accomplished moments in their most intelligible form.

      For the open minds and eager ears, Faust's cryptic charm had been laid bare, and the heads had a new favourite band.


      1. Several Hands On Our Piano
      2. Don't
      3. Flashback Caruso
      4. Voices And Trumpet And All
      5. J'ai Mal Aux Dents
      6. Beim Nächsten Ton Ist Es…
      7. Two Drums, Bass, Organ
      8. Dr. Schwitters Intro
      9. Several Hands On Our Piano (Continued)
      10. Beam Me Up, Scotty
      11. Elerimomuvid
      12. Dr. Schwitters (Continued)
      13. Have A Good Time, Everybody
      14. Above And Under Our Piano
      15. Hermanns Lament
      16. Donnerwetter
      17. Was Ist Hier Los?
      18. Rudolf Der Pianist
      19. Ricochets
      20. I've Heard That One Before
      21. Watch Your Step
      22. Under Our Piano Again
      23. Fluid Chorus
      24. Stretch Out Time
      25. Der Baum
      26. Chère Chambre

      Oksana Linde

      Aquatic And Other Worlds (1983-1989)

        'Aquatic and Other Worlds (1983-1989)' marks 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.

        With 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.

        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, 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.

        Art by René Sánchez.


        SIDE A
        A1 Intromersión 03:31
        A2 Viaje Hacia La Luz 05:07
        A3 Playa Caribe 06:04
        A4 Bajo La Lluvia 02:14
        A5 Estudio Para Una Sinfonía Folclórica Ucraniana 03:02
        SIDE B
        B1 Mariposas Acuáticas 01:44
        B2 Psicocatálisis 02:57
        B3 Descubrimiento 03:01
        B4 Orinoco 03:41
        B5 Nenufar 02:28
        B6 Recordando A Kitaro 02:24
        B7 Ensueño 03:41

        Walter Smetak


          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. An emblematic figure of the Brazilian avant-garde and a key part of the cultural climate that made the rise of tropicália possible, Walter Smetak was a Swiss musician and inventor of instruments who developed his career in Brazil.

          "Smetak" (1974), his debut album, was produced by Caetano Veloso and Roberto Santana, and had the support of Gilberto Gil. It sums up a personal universe that combines Afro-Brazilian ritual traditions, theosophy, microtonal studies, collective improvisation and the use of unconventional musical instruments.


          SIDE A
          A1. Tijolinhos, Material De Construção "Audição Espontânea Do Silêncio, Violão Eólico 02:30
          A2. Akwas 08:22
          A3. Dos Mendigos 00:48
          A4. Sarabanda Projeção Improvisada 07:02
          A5. Dansom 01:38

          SIDE B
          B1. Mantram 07:37
          B2. Iêéaóôu 00:43
          B3. Música Dos Mendigos 05:41
          B4. Indiferenciações 10:05
          B5. Preludiando Com Joseba 02:02
          B6. Uibitus E Beija-Flores Etc. "Poluiçãoquebratória" 02:44


          Maqui De Hierro

            Jardín was made up of Orlando Ramírez and Raúl Gómez, and has been a true cult band of Lima's experimental underground since they made themselves known at the end of the 1990s, when they started playing at electronic music venues as well as in the context of art performances and contemporary dance events.

            "Maqui de hierro", their fourth published work, defined the sonic universe of the duo, in which electronic cosmic experimentation converges with hypnotic rhythmic patterns inspired by ritual percussion music from the Amazon, using console feedback processed by pedals, drum machines and ocarinas.

            Jardín's work can be related to that of other great luminaries of rhythmic repetition such as Silver Apples, Suicide, Esplendor Geométrico or Pansonic, a sound that finds in "Maqui de Hierro" a singular incarnation: metallic drum machines that lead the trance between echoes and layers of reverberant sounds, in a kind of rhythmic drone dub trip. Appeared in cassette format in 2005, "Maqui de Hierro" collects recordings of 2002 and 2003, made during intense and unforgettable concerts, as well as in recorded sessions at the duo's private haven known as Cuarto Azul, located in an industrial zone of Lima.

            Recorded entirely live and direct to open reel tape, "Maqui de hierro" is now published for the first time in vinyl format, as part of the Essential Sounds collection, with which Buh Records discloses a series of fundamental albums of Peruvian sound experimentation.

            TRACK LISTING

            A1 Lulu (5:13)
            A2 Perfume De Ceniza (Ash Perfume) (4:53)
            A3 Thumalpu (7:42)
            B1 Vientos Estelares (Stellar Winds) (3:22)
            B2 Serpientes De Humo (Smoke Snakes) (15:28)

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