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.
B2. Taki Onqoy