Viva el sábado - Hits de disco pop peruano (1978-1989)
Various Artists
Viva el sábado - Hits de disco pop peruano (1978-1989)
Boomkat Product Review:
The mighty Buh Records spies the Peruvian disco boom on 'Viva el sábado', compiling high-NRG bangers, tropical pop, cult space disco and sublime exotica with an emphasis on the weird and the wonderful. As usual - impeccable stuff.
One of the more misunderstood dance genres, disco hit Peru in the late '70s and crossed over with a tropical music boom and a growing pop-rock scene, more boundless and experimental than anything we're used to. Bands would infuse their synth-laced disco tracks with wild-eyed riffs, local percussion and psychedelic, shimmering vocals - not completely in line with the classic American wave. As Buh Records says in the press release, these dance oddities "have now become cult pieces."
The earliest cut on the anthology comes from Santodomingo Kid, a band led by prolific film score composer and experimental innovator Luis David Aguilar, whose work was collected on Buh's ace 'Ayahuasca' comp last year. Released in 1978, 'Caminito' is also one of the record's most eccentric tracks, a wooly roil of vibrating oscillators, lopsided funk drums, library music Rhodes and tight, fairytale vocal harmonies. Similarly, Rollets' 1980 track 'Patinando' is a quirky blend of influences; the band was comprised of members of Laghonia, a local psych-prog band, and while the track adheres to many of disco's established rules, it frays around the edges, distorting the vocals and adding jagged, bombastic guitars.
Grupo Swing's trippy 'Bosque solitario' takes plenty of ideas from the disco canon, but the flimsy, hard-swung aesthetic keeps us guessing, and by the time we reach the mid-'80s, Pepo Rock's 'To lo dije' lifts bits of Jacko's 'Billie Jean' and turns it into casual electro pop. Grupo América's fogged-out 1986 bumper 'Amo a Susana' is another highlight, fusing blunted tropical electric piano rolls and balearic guitars with wheezing analog synths and a robust bassline, and Annie's 'Jungla de Cemento' from 1989 cleans the sound up a bit but retains the same oddball charm, drawing some of the same conclusions Isabelle Antena did on the other side of the world.
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Boomkat Product Review:
The mighty Buh Records spies the Peruvian disco boom on 'Viva el sábado', compiling high-NRG bangers, tropical pop, cult space disco and sublime exotica with an emphasis on the weird and the wonderful. As usual - impeccable stuff.
One of the more misunderstood dance genres, disco hit Peru in the late '70s and crossed over with a tropical music boom and a growing pop-rock scene, more boundless and experimental than anything we're used to. Bands would infuse their synth-laced disco tracks with wild-eyed riffs, local percussion and psychedelic, shimmering vocals - not completely in line with the classic American wave. As Buh Records says in the press release, these dance oddities "have now become cult pieces."
The earliest cut on the anthology comes from Santodomingo Kid, a band led by prolific film score composer and experimental innovator Luis David Aguilar, whose work was collected on Buh's ace 'Ayahuasca' comp last year. Released in 1978, 'Caminito' is also one of the record's most eccentric tracks, a wooly roil of vibrating oscillators, lopsided funk drums, library music Rhodes and tight, fairytale vocal harmonies. Similarly, Rollets' 1980 track 'Patinando' is a quirky blend of influences; the band was comprised of members of Laghonia, a local psych-prog band, and while the track adheres to many of disco's established rules, it frays around the edges, distorting the vocals and adding jagged, bombastic guitars.
Grupo Swing's trippy 'Bosque solitario' takes plenty of ideas from the disco canon, but the flimsy, hard-swung aesthetic keeps us guessing, and by the time we reach the mid-'80s, Pepo Rock's 'To lo dije' lifts bits of Jacko's 'Billie Jean' and turns it into casual electro pop. Grupo América's fogged-out 1986 bumper 'Amo a Susana' is another highlight, fusing blunted tropical electric piano rolls and balearic guitars with wheezing analog synths and a robust bassline, and Annie's 'Jungla de Cemento' from 1989 cleans the sound up a bit but retains the same oddball charm, drawing some of the same conclusions Isabelle Antena did on the other side of the world.
Boomkat Product Review:
The mighty Buh Records spies the Peruvian disco boom on 'Viva el sábado', compiling high-NRG bangers, tropical pop, cult space disco and sublime exotica with an emphasis on the weird and the wonderful. As usual - impeccable stuff.
One of the more misunderstood dance genres, disco hit Peru in the late '70s and crossed over with a tropical music boom and a growing pop-rock scene, more boundless and experimental than anything we're used to. Bands would infuse their synth-laced disco tracks with wild-eyed riffs, local percussion and psychedelic, shimmering vocals - not completely in line with the classic American wave. As Buh Records says in the press release, these dance oddities "have now become cult pieces."
The earliest cut on the anthology comes from Santodomingo Kid, a band led by prolific film score composer and experimental innovator Luis David Aguilar, whose work was collected on Buh's ace 'Ayahuasca' comp last year. Released in 1978, 'Caminito' is also one of the record's most eccentric tracks, a wooly roil of vibrating oscillators, lopsided funk drums, library music Rhodes and tight, fairytale vocal harmonies. Similarly, Rollets' 1980 track 'Patinando' is a quirky blend of influences; the band was comprised of members of Laghonia, a local psych-prog band, and while the track adheres to many of disco's established rules, it frays around the edges, distorting the vocals and adding jagged, bombastic guitars.
Grupo Swing's trippy 'Bosque solitario' takes plenty of ideas from the disco canon, but the flimsy, hard-swung aesthetic keeps us guessing, and by the time we reach the mid-'80s, Pepo Rock's 'To lo dije' lifts bits of Jacko's 'Billie Jean' and turns it into casual electro pop. Grupo América's fogged-out 1986 bumper 'Amo a Susana' is another highlight, fusing blunted tropical electric piano rolls and balearic guitars with wheezing analog synths and a robust bassline, and Annie's 'Jungla de Cemento' from 1989 cleans the sound up a bit but retains the same oddball charm, drawing some of the same conclusions Isabelle Antena did on the other side of the world.
Boomkat Product Review:
The mighty Buh Records spies the Peruvian disco boom on 'Viva el sábado', compiling high-NRG bangers, tropical pop, cult space disco and sublime exotica with an emphasis on the weird and the wonderful. As usual - impeccable stuff.
One of the more misunderstood dance genres, disco hit Peru in the late '70s and crossed over with a tropical music boom and a growing pop-rock scene, more boundless and experimental than anything we're used to. Bands would infuse their synth-laced disco tracks with wild-eyed riffs, local percussion and psychedelic, shimmering vocals - not completely in line with the classic American wave. As Buh Records says in the press release, these dance oddities "have now become cult pieces."
The earliest cut on the anthology comes from Santodomingo Kid, a band led by prolific film score composer and experimental innovator Luis David Aguilar, whose work was collected on Buh's ace 'Ayahuasca' comp last year. Released in 1978, 'Caminito' is also one of the record's most eccentric tracks, a wooly roil of vibrating oscillators, lopsided funk drums, library music Rhodes and tight, fairytale vocal harmonies. Similarly, Rollets' 1980 track 'Patinando' is a quirky blend of influences; the band was comprised of members of Laghonia, a local psych-prog band, and while the track adheres to many of disco's established rules, it frays around the edges, distorting the vocals and adding jagged, bombastic guitars.
Grupo Swing's trippy 'Bosque solitario' takes plenty of ideas from the disco canon, but the flimsy, hard-swung aesthetic keeps us guessing, and by the time we reach the mid-'80s, Pepo Rock's 'To lo dije' lifts bits of Jacko's 'Billie Jean' and turns it into casual electro pop. Grupo América's fogged-out 1986 bumper 'Amo a Susana' is another highlight, fusing blunted tropical electric piano rolls and balearic guitars with wheezing analog synths and a robust bassline, and Annie's 'Jungla de Cemento' from 1989 cleans the sound up a bit but retains the same oddball charm, drawing some of the same conclusions Isabelle Antena did on the other side of the world.
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