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Marble Surface

http://thequietus.com/articles/17630-rum-music-russell-cuzner

This fascinating archival release from Peru's Buh Records demonstrates the playful relationship to technology the composer enjoyed when he took his traditional native music and explored and tested its limits using the expanding tape methods of the time. Traditional Peruvian folk was on the political agenda in the mid-seventies when nationalistic policies promoted indigenous music in an attempt to conserve what had been endangered thanks to centuries of colonial exploitation. But modern composer  Flores sought to greatly expand his heritage with 20th Century modes and methods.

Miguel Flores' Primitivo is not concerned with conservation of folk instruments (although sikus do feature) but rather helping to keep their related ancestral myths alive. Commissioned to soundtrack Mitos y Mujeres (Myths and Women), a performance by dancer and choreographer Luciano Proańo, Flores brings together aspects of tribal music with the rock and free jazz experimentation he was known for. The first of three long tracks, 'Pachacuti', is concerned with millennial prophecies of an apocalyptic nature. Apparently using 14 guitars and the full range of tape effects he initially describes in sound the creation of the universe - large-scale soaring arcs are followed by smooth swells offering an uncanny sense of terraforming. A huayno dance follows, its patterns gradually dissipating, to describe the pre-Columbian civil wars, after which more catastrophe is marked out by the violent disruptions of feedback representing the Spaniards' invasion.

The strangest but most delightful mythic music on Primitivo is the middle piece, 'Iranpabanto', that takes its listeners through three stages - firstly a ritualistic procession that scratches a path to a more traditional chapter, where a female contentedly singing is decorated with flute and bells, before an uproar of synth, cymbals and siku followed by extended ultra-heavy bass tones spell out a fabled tragedy. It is based on a myth from the rainforest's Ashaninka tribe where a woman made of clay is abandoned and abused by two successive husbands. Consequently, she turns into a man and heads out for the jungle where she melts in the rain. Flores’ fearless re-appropriation describes in sound both the magic and the trauma of the tale.

Flores’ proximity to folkloric traditions combined with his questing attitude towards transformative sound extends the power of myth, conserving while creating new dimensions, which are thankfully conserved anew on this wonderful re-release.

http://www.sad-bastard-music.com/2015/02/miguel-flores-primitivo.html

 

Continuando con los lanzamientos de la flamante Colección Sonidos Esenciales, producida por Buh Records con la colaboración de ATA, a partir de esta semana ya está disponible su segunda entrega: el disco "Primitivo" de Miguel Flores. Siempre bajo la premisa de realizar un «rescate de diversos trabajos fundamentales de la música de vanguardia peruana», la serie (inaugurada en Enero con la reedición de "Composiciones Nativas" de Arturo Ruiz del Pozo) presenta aquí una colección de temas originales de 1981 hasta ahora inéditos en el formato de álbum de Miguel Flores, baterista y multi-instrumentista asociado a actos locales de los '60s y '70s como Los Loops, The Image, los hard-rockers Pax, Ave Acústica y La Orquesta Integral del Sol; a la postre considerado como uno de los músicos más importantes de la experimentación musical en el Perú sucedida desde mediados de los '70s a mediados de los '80s, combinando en su factura sonora modernas técnicas de composición de la música de vanguardia con la búsqueda de un sonido ancestral. Acerca de su autor y el material que compone "Primitivo" (puntualmente, composiciones de Flores de música neofolklórica/experimental comisionadas por Luciana Proaño para el espectáculo de danza contemporánea “Mitos y Mujeres”) detalla Buh Records: « Miguel Flores inició sus investigaciones con el folklore hacia 1974, con el grupo Ave Acústica, que incorporaba técnicas musicales no convencionales. Era una época de fuerte promoción del folklore, como consecuencia de las políticas del gobierno nacionalista de Juan Velasco Alvarado. La aparición de los Talleres de la Canción Popular, dirigidos por Celso Garrido-Lecca en 1974, fue decisiva para la gestación de una nueva generación de agrupaciones de folclore y nueva canción. En dicho contexto, y tras su alejamiento de Pax, Miguel Flores empezó a profundizar tanto en su interés por el folklore como también en la experimentación sonora y el free jazz, siendo su intento rechazado por todos los frentes por intentar fusionar lo que se consideraba no debía fusionarse. A su retorno a Lima, tras una intensa gira que realiza a Japón, en 1980, Miguel Flores es convocado por la bailarina Luciana Proaño para componer la banda sonora de su nuevo espectáculo de danza contemporánea llamado “Mitos y Mujeres”. Para su realización Miguel Flores convocó a los músicos Corina Bartra, Arturo de la Cruz, Manuel Miranda y Abelardo Oquendo, quienes interpretaron composiciones que fusionaban el folklore con la psicodelia, el free jazz, la electrónica, la música tribal, y los cantos ashaninkas. Un sonido hipnótico que tendía un puente entre lo ancestral y la vanguardia, entre el espíritu del rock psicodélico, el free jazz y la pura experimentación sonora. El registro en estudio de lo que fue la banda de sonido para “Mitos y Mujeres” se había mantenido guardada por más de treinta años. Hoy ve por primera vez la luz en edición de CD. » Conformado por tres temas conceptuales, "Primitivo" sobrevuela desde ejecuciones de múltiples registros de guitarras y manipulaciones de sus velocidades, reverse y feedbacks (todo esto sólo en el tema de apertura, "Pachacuti", interpretado íntegramente por Flores con movimientos van de lo abstracto a reminiscencias por lo andino, español y hasta chicha) a composiciones inspiradas por los mitos Ashaninkas ("Iranpabanto" está basado el sonido que le atribuían a los relámpagos contando con intervenciones de sicus, saxo y sintetizador) y envolventes espacios en donde predomina la ejecución experimental de vientos, improvisación y sonidos vocales en estudio (en "Taki Onqoy"). A la par con su reciente publicación en CD, ya podemos repasar en streaming el álbum.

http://heathenharvest.org/2015/05/25/composiciones-nativas-the-peruvian-experimentalism-of-arturo-pozo-and-miguel-flores/

 

You are here: Home » Composiciones Nativas: The Peruvian Experimentalism of Miguel Flores

25th May 2015 

Composiciones Nativas: The Peruvian Experimentalism of Arturo Pozo and Miguel Flores

Buh Records is an obscure experimental music label from a corner of the world which you don’t really hear from too often-at least I don’t. Based in Lima, Peru, this publisher has set on an ambitious journey to release not only contemporary works by musicians they support, but to revive classic, or should I say historically significant, records from the Peruvian experimental / electroacoustic scene.  It is with that said that we will be foregoing our rating system for both of these releases, as it feels disrespectful to attempt to rate something of such early importance.

Miguel Flores is another significant figure who shaped the Peruvian musical avant-garde of the 70s and 80s. Primitivo is an album that steps a bit further back from electroacoustic experimentalism, but does this by taking multiple paths from free jazz to folk, and guitar psychedelia. Originally a drummer who performed with various classical Peruvian bands among which were The Loop’s, Thee Image, and PAX, Flores shows himself through Primitivo to be both a composer and multi-instrumentalist. Each of the three pieces is extremely different from the others; they range widely in terms of being an essence, instrumentation, ideas, and even in length. I guess what makes them alike is the fact they are all very different.

The three pieces in this album were originally composed for a dance piece by choreographer Luciana Proaño. Recorded in the 80s, these works are now being published for the first time as a part of the Sounds Essentials Collection.

Primitivo takes you on a very long and intriguing journey. It’s a crazy ride, as the music jumps from what modern ambient listeners would describe as a ritual sound, to sparse passages, primitive jazz, classic Spanish guitar composition, electroacoustic collages in the background of the instrumentation, obscure effects and production, and even proto-psychedelic rock. The pieces and bits of music do not appear in a gentle, logical way; they chaotically jump from one to the other, building a bewildering and lively soundscape that should make the conscious listener curious about how Primitivo worked with the dance piece it was written for. It makes you wonder how the bodies reacted to the mellow classic guitar melodies in ‘Pachacuti’, or the saxophone screaming in ‘Iranpabanto’, just minutes after this very piece started as a ritualistic distortion and percussion-driven effort.

CARETAS 16/02/81

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