Label Focus – Buh Records

From traditional sounds to noise rock, Buh bring Peru’s finest sounds to the world

WHAT’S THE NAME OF YOUR LABEL, AND WHO RUNS IT?
It’s called Buh Records, and it’s run by me, Luis Alvarado.

WHEN & WHY DID THE LABEL START?
The project started in 2004. I had a lot of friends making very interesting, very experimental music and I felt it was a good idea to start a label project. On the other hand, I was always involved with music journalism and research and there was a lot of Peruvian music that was very good and important from the 60s, 70s, and 80s. A whole history of sound experimentation that was unpublished. Initially, I did compilations for other labels but then I decided to do it myself with a more constant rhythm. Initially, my editions were only CD-Rs but since 2012 I started publishing professional CDs and in 2017 I started publishing vinyl. It’s called Buh Records because “Buh” is the sound that ghosts make. The spirit of the label is scary music.

GIVE US A BRIEF SUMMARY OF WHAT YOU’VE RELEASED SINCE THEN…
There are more than 150 productions. There are archival works on experimental music and sound art in Peru and also many new artists from Peru, Latin America and around the world. Among the important reissues, the Essential Sounds historic series about experimental music from Peru, with releases by Miguel Flores, Arturo Ruiz del Pozo, Luis David Aguilar, Manongo Mujica, Edgar Valcárcel, Salón Dadá, Jardín, industrial noise compilations from the early 90s, techno-pop from the 80s (Síntomas De Techno compilation, is the latest), Electro-Acoustic music, etc. Reissues of important Latin American artists such as Oksana Linde (Venezuela), Walter Smetak (Swiss/Brazilian), and Mesias Maiguashca (Ecuador). And many young Peruvian artists like Liquidarlo Celuloide, Varsovia, Puppies in the Sun, Fifteen Years Old, Ale Hop, Dante Gonzales, Hamann, but also artists from other parts of the world like Gurun Gurun (Czech Republic), Acavernus & Yantra (Brazil), Sexores (Ecuador), IMA (USA), Acid Mothers Temple (Japan), Nicotina es Primavera (Perú/Argentina), 7697Miles (Chile/Alemania), Tajak (México), etc. And now a lot of traditional, Afro-Peruvian and Amazonian music like Andrés Vargas Pinedo, Hermanos Ballumbrosio, Los Abuelos del Wayku, Chocolate Algendones, Cotito, and Perkutao.

WHAT QUALITIES ARE YOU LOOKING FOR IN THE MUSIC YOU RELEASE?
I like music that is not common, that has some very evident singularity. I really like electronic music, dissonance, improvisation, and percussion. I am open to many styles. But I also like good songs, good pop music, when it comes from an uncomfortable zone.

WHAT KIND OF VISUAL IDENTITY DOES THE LABEL HAVE (ARTWORK, VIDEOS ETC)?
The visual aspect is very important, not only as an aesthetic of the label but because we are in a time with so much information and so many record labels, it is very important to communicate your differential aspects. I want the covers to help communicate those aspects visually. I don’t know how to explain it, I work with very good designers nowadays and I think they have managed to capture the spirit of Buh Records, which is very playful.

WHAT’S BEEN YOUR BIGGEST SELLING RELEASE TO DATE? TELL US A BIT ABOUT IT AND WHY YOU THINK IT WAS SO POPULAR.
There are many records that have sold very well. Although reissues are usually more in demand. Among the best-selling albums recently is that of Oksana Linde. Not only is it an exceptional album of electronic synthesizer music, and an important reissue, but Oksana’s story is incredible and I think that has helped generate great interest.

For young artists, Varsovia’s album has also sold very well, it’s a Peruvian punk band with synthesizers. I think their furious style and their arsenal of analog synthesizers make it very special, very unique.

NAME ONE RELEASE THAT YOU THINK DESERVED TO GET MORE ATTENTION THAN IT DID.
There are some albums where the pandemic affected the diffusion a little and the tours planned to promote them. Among them is the Liquidarlo Celuloide album (Anamnesis), produced by Jaz Coleman of Killing Joke. It is furious post-punk with elements of noise rock.

It’s a great album. Jaz was in Peru producing this album, it was a great project. And Jaz sings in a song! Another great album is the album by IMA, by Nava Dunkelman (Japan) and Amma Ateria (Hong Kong). It seems to me to be one of the great albums we have released, and although it had reviews in various media, I think there is still more to say. The work that IMA does is exceptional.

IF YOU COULD SIGN ANY ARTIST, ALIVE OR DEAD, WHO WOULD YOU CHOOSE AND WHY?
There is certainly a huge list, many obscure electronic music titles from the 60s and 70s, some that appeared on Creel Pone or the famous Nurse With Wound list of titles. But maybe a dream come true would be to release an album by a member of Sonic Youth, some experimental album. It would be something special. I hope it happens!

WHICH OTHER LABELS DO YOU ADMIRE AND WHY?
There are many labels, but I think that at present I feel very identified with and admire the work of labels such as Bongo Joe, GlitterBeat, Discrepant, and Akuphone. I like the fluidity they have between musical genres, the innovative way of presenting popular music and the always radical profile of his releases. I feel that the visions of those labels are the same as I have, with a different context and conditions… I think there is a similar spirit.

WHAT CAN WE LOOK TO FROM YOUR LABEL NEXT?
Many upcoming titles, and film music artists like Luis David Aguilar. A conceptual artist who did some sound pieces and scores called Teresa Burga. An anthology of Peruvian sound poetry. An anthology of the Colombian Jaqueline Nova. A new album from Varsovia, a new album by Ale Hop with Laura Robles, another by Luis Sanz with Miao Zhao and one by the Brazilian Bella etc. etc.

Noah Sparkes

Peruse the full collection of releases from the Buh label on Juno by clicking here