Travesías
Oksana Linde
Travesías
Boomkat Product Review:
Peak surrealist synthmelt that's crucial listening for anyone into Delia Derbyshire, Suzanne Ciani, Iasos or Tangerine Dream, Venezuelan composer Oksana Linde's second Buh anthology sweeps up more dizzying unreleased material from her prolific 1986-1994 period, further cementing her status as one of electronic music's most overlooked innovators.
Buh just keeps 'em coming. The Peruvian imprint already helped us get a handle on Linde's idiosyncratic outlook back in 2022 when they compiled a handful of her previously unpublished '80s synth recordings on 'Aquatic and Other Worlds', and 'Traveísas' is even more mind altering. To refresh yr memory, the Caracas-born artist started off her professional life as a chemical researcher, retiring early after experiencing severe health problems and devoting her energy to music. Based in San Antonio de Los Altos, she began to explore alternative therapies like meditation and reiki, channeling her new-found interest in the perception of reality into her hypnotic compositions. A handful of the tracks here were written specifically to aid meditation sessions, while the remaining compositions were presented in 1991 at Travesía Acuastral, a special concert for the Nueva Música Electrónica festival that celebrated Venezuela's lively experimental scene.
And it's one of the 'Travesía Acuastral' pieces that opens 'Traveísas'; 'Luciérnagas en los manglares' is shockingly prescient, combining romantic sci-fi synth sweeps with plasticky harp plucks and ASMR-friendly percussive dewdrops. Over in just a couple of minutes, it's somewhere between Klaus Schulz's enduring 'Dune' and the kind of medieval-inspired dungeon synth gear that oozes around the lower depths of Bandcamp. Linde extends the mood on her other festival compositions, subsuming twinkling electric piano phrases and gong hits with effervescent kosmische vapors on 'Estrellas I' and conjuring up a perplexing weightless lullaby on its Badalamenti-like sequel. But it's Linde's meditation tracks that have us really stunned here; like Master Wilburn Burchette's mystical transcendental gear given a Radiophonic overhaul, it's painterly, eccentric and ineffably mysterious material.
On 'Mundos flotantes', Linde pads out her woodwind-esque leads with seismic, tape-mangled blasts and glassy oscillations, underpinning everything with woozy VHS drones, and she transports us to a gloomier landscape on 'Horizontes lejanos', invoking older gods using saturated canned chorals and eerie plucked synth strings. Weighing in at almost 10 minutes, 'Sahara' is an outpouring of emotional warmth from Linde, a muggy layering of slowed-down electro-orchestral themes that's ornamented with ethereal bells and seemingly out of place brassy improvisations. And it's this reluctance to kowtow to established ideas of experimental electronic purity that puts her firmly in her own lane. We all know how many healing music/new age reissues have been excavated in the last few years, but Linde's approach is revelatory - the missing link between Tomita, Laurie Spiegel and Hiroshi Yoshimura.
View more
Boomkat Product Review:
Peak surrealist synthmelt that's crucial listening for anyone into Delia Derbyshire, Suzanne Ciani, Iasos or Tangerine Dream, Venezuelan composer Oksana Linde's second Buh anthology sweeps up more dizzying unreleased material from her prolific 1986-1994 period, further cementing her status as one of electronic music's most overlooked innovators.
Buh just keeps 'em coming. The Peruvian imprint already helped us get a handle on Linde's idiosyncratic outlook back in 2022 when they compiled a handful of her previously unpublished '80s synth recordings on 'Aquatic and Other Worlds', and 'Traveísas' is even more mind altering. To refresh yr memory, the Caracas-born artist started off her professional life as a chemical researcher, retiring early after experiencing severe health problems and devoting her energy to music. Based in San Antonio de Los Altos, she began to explore alternative therapies like meditation and reiki, channeling her new-found interest in the perception of reality into her hypnotic compositions. A handful of the tracks here were written specifically to aid meditation sessions, while the remaining compositions were presented in 1991 at Travesía Acuastral, a special concert for the Nueva Música Electrónica festival that celebrated Venezuela's lively experimental scene.
And it's one of the 'Travesía Acuastral' pieces that opens 'Traveísas'; 'Luciérnagas en los manglares' is shockingly prescient, combining romantic sci-fi synth sweeps with plasticky harp plucks and ASMR-friendly percussive dewdrops. Over in just a couple of minutes, it's somewhere between Klaus Schulz's enduring 'Dune' and the kind of medieval-inspired dungeon synth gear that oozes around the lower depths of Bandcamp. Linde extends the mood on her other festival compositions, subsuming twinkling electric piano phrases and gong hits with effervescent kosmische vapors on 'Estrellas I' and conjuring up a perplexing weightless lullaby on its Badalamenti-like sequel. But it's Linde's meditation tracks that have us really stunned here; like Master Wilburn Burchette's mystical transcendental gear given a Radiophonic overhaul, it's painterly, eccentric and ineffably mysterious material.
On 'Mundos flotantes', Linde pads out her woodwind-esque leads with seismic, tape-mangled blasts and glassy oscillations, underpinning everything with woozy VHS drones, and she transports us to a gloomier landscape on 'Horizontes lejanos', invoking older gods using saturated canned chorals and eerie plucked synth strings. Weighing in at almost 10 minutes, 'Sahara' is an outpouring of emotional warmth from Linde, a muggy layering of slowed-down electro-orchestral themes that's ornamented with ethereal bells and seemingly out of place brassy improvisations. And it's this reluctance to kowtow to established ideas of experimental electronic purity that puts her firmly in her own lane. We all know how many healing music/new age reissues have been excavated in the last few years, but Linde's approach is revelatory - the missing link between Tomita, Laurie Spiegel and Hiroshi Yoshimura.
Boomkat Product Review:
Peak surrealist synthmelt that's crucial listening for anyone into Delia Derbyshire, Suzanne Ciani, Iasos or Tangerine Dream, Venezuelan composer Oksana Linde's second Buh anthology sweeps up more dizzying unreleased material from her prolific 1986-1994 period, further cementing her status as one of electronic music's most overlooked innovators.
Buh just keeps 'em coming. The Peruvian imprint already helped us get a handle on Linde's idiosyncratic outlook back in 2022 when they compiled a handful of her previously unpublished '80s synth recordings on 'Aquatic and Other Worlds', and 'Traveísas' is even more mind altering. To refresh yr memory, the Caracas-born artist started off her professional life as a chemical researcher, retiring early after experiencing severe health problems and devoting her energy to music. Based in San Antonio de Los Altos, she began to explore alternative therapies like meditation and reiki, channeling her new-found interest in the perception of reality into her hypnotic compositions. A handful of the tracks here were written specifically to aid meditation sessions, while the remaining compositions were presented in 1991 at Travesía Acuastral, a special concert for the Nueva Música Electrónica festival that celebrated Venezuela's lively experimental scene.
And it's one of the 'Travesía Acuastral' pieces that opens 'Traveísas'; 'Luciérnagas en los manglares' is shockingly prescient, combining romantic sci-fi synth sweeps with plasticky harp plucks and ASMR-friendly percussive dewdrops. Over in just a couple of minutes, it's somewhere between Klaus Schulz's enduring 'Dune' and the kind of medieval-inspired dungeon synth gear that oozes around the lower depths of Bandcamp. Linde extends the mood on her other festival compositions, subsuming twinkling electric piano phrases and gong hits with effervescent kosmische vapors on 'Estrellas I' and conjuring up a perplexing weightless lullaby on its Badalamenti-like sequel. But it's Linde's meditation tracks that have us really stunned here; like Master Wilburn Burchette's mystical transcendental gear given a Radiophonic overhaul, it's painterly, eccentric and ineffably mysterious material.
On 'Mundos flotantes', Linde pads out her woodwind-esque leads with seismic, tape-mangled blasts and glassy oscillations, underpinning everything with woozy VHS drones, and she transports us to a gloomier landscape on 'Horizontes lejanos', invoking older gods using saturated canned chorals and eerie plucked synth strings. Weighing in at almost 10 minutes, 'Sahara' is an outpouring of emotional warmth from Linde, a muggy layering of slowed-down electro-orchestral themes that's ornamented with ethereal bells and seemingly out of place brassy improvisations. And it's this reluctance to kowtow to established ideas of experimental electronic purity that puts her firmly in her own lane. We all know how many healing music/new age reissues have been excavated in the last few years, but Linde's approach is revelatory - the missing link between Tomita, Laurie Spiegel and Hiroshi Yoshimura.
Boomkat Product Review:
Peak surrealist synthmelt that's crucial listening for anyone into Delia Derbyshire, Suzanne Ciani, Iasos or Tangerine Dream, Venezuelan composer Oksana Linde's second Buh anthology sweeps up more dizzying unreleased material from her prolific 1986-1994 period, further cementing her status as one of electronic music's most overlooked innovators.
Buh just keeps 'em coming. The Peruvian imprint already helped us get a handle on Linde's idiosyncratic outlook back in 2022 when they compiled a handful of her previously unpublished '80s synth recordings on 'Aquatic and Other Worlds', and 'Traveísas' is even more mind altering. To refresh yr memory, the Caracas-born artist started off her professional life as a chemical researcher, retiring early after experiencing severe health problems and devoting her energy to music. Based in San Antonio de Los Altos, she began to explore alternative therapies like meditation and reiki, channeling her new-found interest in the perception of reality into her hypnotic compositions. A handful of the tracks here were written specifically to aid meditation sessions, while the remaining compositions were presented in 1991 at Travesía Acuastral, a special concert for the Nueva Música Electrónica festival that celebrated Venezuela's lively experimental scene.
And it's one of the 'Travesía Acuastral' pieces that opens 'Traveísas'; 'Luciérnagas en los manglares' is shockingly prescient, combining romantic sci-fi synth sweeps with plasticky harp plucks and ASMR-friendly percussive dewdrops. Over in just a couple of minutes, it's somewhere between Klaus Schulz's enduring 'Dune' and the kind of medieval-inspired dungeon synth gear that oozes around the lower depths of Bandcamp. Linde extends the mood on her other festival compositions, subsuming twinkling electric piano phrases and gong hits with effervescent kosmische vapors on 'Estrellas I' and conjuring up a perplexing weightless lullaby on its Badalamenti-like sequel. But it's Linde's meditation tracks that have us really stunned here; like Master Wilburn Burchette's mystical transcendental gear given a Radiophonic overhaul, it's painterly, eccentric and ineffably mysterious material.
On 'Mundos flotantes', Linde pads out her woodwind-esque leads with seismic, tape-mangled blasts and glassy oscillations, underpinning everything with woozy VHS drones, and she transports us to a gloomier landscape on 'Horizontes lejanos', invoking older gods using saturated canned chorals and eerie plucked synth strings. Weighing in at almost 10 minutes, 'Sahara' is an outpouring of emotional warmth from Linde, a muggy layering of slowed-down electro-orchestral themes that's ornamented with ethereal bells and seemingly out of place brassy improvisations. And it's this reluctance to kowtow to established ideas of experimental electronic purity that puts her firmly in her own lane. We all know how many healing music/new age reissues have been excavated in the last few years, but Linde's approach is revelatory - the missing link between Tomita, Laurie Spiegel and Hiroshi Yoshimura.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Peak surrealist synthmelt that's crucial listening for anyone into Delia Derbyshire, Suzanne Ciani, Iasos or Tangerine Dream, Venezuelan composer Oksana Linde's second Buh anthology sweeps up more dizzying unreleased material from her prolific 1986-1994 period, further cementing her status as one of electronic music's most overlooked innovators.
Buh just keeps 'em coming. The Peruvian imprint already helped us get a handle on Linde's idiosyncratic outlook back in 2022 when they compiled a handful of her previously unpublished '80s synth recordings on 'Aquatic and Other Worlds', and 'Traveísas' is even more mind altering. To refresh yr memory, the Caracas-born artist started off her professional life as a chemical researcher, retiring early after experiencing severe health problems and devoting her energy to music. Based in San Antonio de Los Altos, she began to explore alternative therapies like meditation and reiki, channeling her new-found interest in the perception of reality into her hypnotic compositions. A handful of the tracks here were written specifically to aid meditation sessions, while the remaining compositions were presented in 1991 at Travesía Acuastral, a special concert for the Nueva Música Electrónica festival that celebrated Venezuela's lively experimental scene.
And it's one of the 'Travesía Acuastral' pieces that opens 'Traveísas'; 'Luciérnagas en los manglares' is shockingly prescient, combining romantic sci-fi synth sweeps with plasticky harp plucks and ASMR-friendly percussive dewdrops. Over in just a couple of minutes, it's somewhere between Klaus Schulz's enduring 'Dune' and the kind of medieval-inspired dungeon synth gear that oozes around the lower depths of Bandcamp. Linde extends the mood on her other festival compositions, subsuming twinkling electric piano phrases and gong hits with effervescent kosmische vapors on 'Estrellas I' and conjuring up a perplexing weightless lullaby on its Badalamenti-like sequel. But it's Linde's meditation tracks that have us really stunned here; like Master Wilburn Burchette's mystical transcendental gear given a Radiophonic overhaul, it's painterly, eccentric and ineffably mysterious material.
On 'Mundos flotantes', Linde pads out her woodwind-esque leads with seismic, tape-mangled blasts and glassy oscillations, underpinning everything with woozy VHS drones, and she transports us to a gloomier landscape on 'Horizontes lejanos', invoking older gods using saturated canned chorals and eerie plucked synth strings. Weighing in at almost 10 minutes, 'Sahara' is an outpouring of emotional warmth from Linde, a muggy layering of slowed-down electro-orchestral themes that's ornamented with ethereal bells and seemingly out of place brassy improvisations. And it's this reluctance to kowtow to established ideas of experimental electronic purity that puts her firmly in her own lane. We all know how many healing music/new age reissues have been excavated in the last few years, but Linde's approach is revelatory - the missing link between Tomita, Laurie Spiegel and Hiroshi Yoshimura.
More from Oksana Linde:
-
FREE MP3 WITH VINYLOksana Linde Aquatic and Other Worlds (1983-1989) Buh Records Modern Classical / Ambient- MP3
- FLAC
- WAV
- LP (Black Vinyl)
More from Buh Records:
-
Ballet Mecánico Primera Secuencia Buh Records Disco / Boogie / Funk
- MP3
- FLAC
- WAV
-
Pacha Wakay Munan El tiempo quiere cantar Buh Records Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
Ayarwhaska Dendritas Oscilantes Buh Records Extreme / Noise / Computer Music
- MP3
- FLAC
- WAV
-
Animal Machine, Richard Ramirez Música para el colapso Buh Records Extreme / Noise / Computer Music
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLEduardo Polonio Obra Electroacústica 1969-1981 Buh Records Electronic
- MP3
- FLAC
- WAV
- Black Vinyl 2LP
People who bought this also bought:
-
FREE MP3 WITH VINYLTHE CARETAKER An empty bliss beyond this world History Always Favours The Winners Modern Classical / Ambient
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLValentina Magaletti & Laila Sakini Cupo Magaletti Sakini Electronic
- MP3
- FLAC
- WAV
- Colour LP
-
FREE MP3 WITH VINYLJulius Eastman Femenine FROZEN REEDS Modern Classical / Ambient
- 2LP (Black Vinyl)
-
FREE MP3 WITH VINYLJIM O'ROURKE Hands That Bind (Original Motion Picture Soundtrack) Drag City Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLLaurel Halo Atlas Awe Modern Classical / Ambient
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLPiotr Kurek Smartwoods Unsound Electronic
- MP3
- FLAC
- WAV
- Colour LP
-
FREE MP3 WITH VINYLSerwed Serwed IV West Mineral Electronic
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLEgil Kalman Forest of Tines (Egil Kalman plays the Buchla 200) iDEAL Recordings Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
-
FREE MP3 WITH VINYLMary Lattimore and Walt McClements Rain on the Road Thrill Jockey Modern Classical / Ambient
- MP3
- FLAC
- WAV
- Colour LP
- LP (Black Vinyl)
- CD
-
FREE MP3 WITH VINYLJessica Ekomane, Laurel Halo Manifolds / Octavia Portraits GRM Electronic
- LP (Black Vinyl)