[eh?103]Seeded Plain
Buffets Close Suddenly
[eh?102]Tania Chen & Jon Leidecker
Live In Japan
[eh?101]Cookie Tongue
Orphan Arms
[eh?99]Bill Brovold
Superstar
[eh?98]LSJ
Misty Nights
[eh?97]L. Eugene Methe and Megan Siebe
Revisited, Revisited, Revisited
[eh?96]Felipe Araya
Punata
[eh?95]Eoin Callery
Oakum
[eh?94]noisepoetnobody
Fissure
[eh?93]Bad Jazz
Daymare
[eh?92]Ernesto Diaz-Infante
My Benign Swords
[eh?91]Larnie Fox
In The Cathedral of Airplanes
[eh?90]Tom Djll
Cassette19
[eh?89]Leonard * Day * Jerman
Isinglass
[eh?88]Das Torpedoes
Qu Nar
[eh?87]Ben Bennett & John Collins McCormick
Pluperfect
[eh?86]Daniel Wyche
Our Severed Sleep
[eh?85]Seeded Plain
Spill Containment
[eh?84]Bad Jazz
Bad Dreams In The Night
[eh?83]Chefkirk & Andrew Quitter
Kaiju Manifestos
[eh?82]Venison Whirled
Tetragrammatones
[eh?81]Gary Rouzer
Studies and Observations of Domestic Shrubbery
[eh?80]Unrepeatable Quartet
Edmonton 2012
[eh?79]Stefan Roigk
Unpredictable
[eh?78]Lucky Bone
Borderline
[eh?77]Jeffrey Alexander
No Sacred Snow, No Sacred Show
[eh?76]Bruno Duplant / Pedro Chambel / Fergus Kelly
(Winter Pale) Red Sun
[eh?75]Horaflora
Live
[eh?74]Graves / Kreimer / Wilsey / Bachmann
The July Amalgam
[eh?73]Sky Thing
Virgin Journalist
[eh?72]Cactus Truck
Live in USA
[eh?71]Various Artists
Hammer, Anvil, Stirrup
[eh?70]Alice Hui-Sheng Chang, Park Seungjun and Jin Sangtae
Live at Dotolim
[eh?69]Edward Ricart & Tim Daisy
Yiu Ja Ley
[eh?68]Chagas And Schafer
Gesture To The Declining Sun
[eh?67]Superlith
Plasma Clusters
[eh?66]Jeff Kaiser / Nicolas Deyoe
Chimney Liquor
[eh?65]Close Embrace of the Earth
At the Spirits Rejoice Festival
[eh?64]Jean-Marc Montera & Francesco Calandrino
Idi Di Marzo
[eh?63]Un Nu
Recoupements
[eh?62]Bailly / Millevoi / Moffett
Strange Falls
[eh?61]Jacob Felix Heule & Bryce Beverlin II
Intersects
[eh?60]Foust!
Space Sickness
[eh?59]Dislocation
Mud Layer Cake
[eh?58]Strongly Imploded
Twilight of Broken Machines
[eh?57]CHEFKIRK
we must leave the warren
[eh?56]Hag
Moist Areas
[eh?55]Eloine & Sabrina Siegel
Nature's Recomposition 33
[eh?54]KBD(uo)
Any Port In A Storm
[eh?53]Eckhard Gerdes
!Evil Scuff Mud
[eh?52]Psychotic Quartet
Sphaleron
[eh?51]Federico Barabino
Can You Listen To the Silence Between the Notes?
[eh?50]Soaf
Dynammo
[eh?49]Yana
The Fruit Witch of Ancient Salamander
[eh?48]Ember Schrag
Jephthah's Daughter
[eh?47]Massimo Falascone / Bob Marsh
Non Troppo Lontano
[eh?46]Delplanque / Oldman
Chapelle de l'Oratoire
[eh?45]The Epicureans
A Riddle Within a Conundrum Within a Game
[eh?44]Croatan Ensemble
Without
[eh?43]Man's Last Great Invention
None.
[eh?42]Sad Sailor
Link to the Outside World
[eh?41]Ricardo Arias / Miguel Frasconi / Keiko Uenishi
Object
[eh?40]Andreas Brandal
This Is Not For You
[eh?39]Gamma Goat
Beard of Sound, Beard of Sand
[eh?38]John Dikeman / Jon Barrios / Toshi Makihara
We Need You
[eh?37]David Moscovich
Ass Lunch
[eh?36]KBD
Four Plus One
[eh?35]Brekekekexkoaxkoax
I Manage To Get Out by a Secret Door
[eh?34]Diamondhead
Dirty Realism
[eh?33]Jesse Krakow
World Without Nachos
[eh?31]DBH
Wave the Old Wave
[eh?30]Bryan Day
Four Televisions
[eh?29]Giraffe
Hear Here
[eh?28]Nagaoag
Yama Labam A
[eh?27]Shelf Life
Rheuma
[eh?26]Papier Mache
2
[eh?25]Papier Mache
1


Felipe Araya - Punata
(C60) (Santiago, Chile)



Side A
-Punata (Bolivia)

Side B
-No Punata (Chile)




Felipe Araya : Peruvian cajón, objects and field recordings

Reviews:
(Disaster Amnesiac) It was a few years ago that Disaster Amnesiac had a conversation with Bryan Day in which Bryan had told me of his plans to check out Noise and Experimental music in South East Asia. When I first pulled Felipe Araya's Punata tape out of its mailer, I thought that maybe it was one of the first fruits of Day's curiosity re: that region. It turns out that Araya hails from Chile. As I've listened to the tape, it's hit me that I know very little about that region of the world, so perhaps it's better for my understanding than a possible release from the Pacific Rim. One great aspect of Punata is its first side, eponymous to the title, during which the listener is treated to 26 minutes of filed recordings from Bolivia. Presented in a raw, cell-phone captured way, Punata has similar vibes to many of the Bishop brothers' Sublime Frequencies releases: seemingly true to life vignettes of street-level societal action, with intimate conversational snippets. The most fascinating passage for this listener is one in which a marching band rocks out with abandon. That said, the seeming sound of windswept prairies of some sort towards the very end are compellingly spooky. Disaster Amnesiac must admit to enjoying the b-side, No Punata, a bit more, as it features Araya's own musical pursuits. He plays the Peruvian Cajon, a quite simply structured percussive box with a large hole in its middle. Felipe experiments with the Cajon's tones and textures, utilizing extended techniques such as rubbing, sliding, kneading, and dropping it. It's really quite cool to hear musicians from different parts of the world experimenting upon instruments that are pretty much indigenous to them. Perhaps that's also something that Bryan finds really compelling? Also neat is the ancient sound of the Tarka, an Andean wind instrument that Araya pairs with Cajon to beautiful effect. No Punata ends with a rolling crescendo, during which Felipe sounds impressively unhinged and live, bringing things to a close with wild sawing action of a very loner nature. It's the sound of musician and instrument melding in the simplest, yet most intimate of ways. After listening to Punata, one wonders what other sounds eh? Records has lined up, from parts far-flung, for the curious aural aficionado. If you're looking for raw sounds of Sur America, this cassette could be a fine place at which to start. - Mark Pino

(Revue et Corrigee) De soleil nous en avons besoin, et le Punata de Felipe Araya nous en apporte ! En direct de Bolivie ou du Chili pour un voyage assez incroyablement monté. Felipe Araya est un percussioniste chilien qui a entre autres joué avec Birgit Uhler et Cristian Alvear, dont nous avons déjà parlé dans ces colonnes, et dont la présence ici ne fait pas forcément dans le hasard. Tel un remix, il propose une virée à Santigao du Chili, le remix c'est pour le nom de la pièce de cette face b : « No punata ». Un remix, un miroir, un feedback, une relecture de ce que nous venions d'entendre sur la pièce de Felipe Araya en face a, la bien nommée « Punata » enregistrée en Bolivie. Ou plutôt une suite, car le traitement est un peu différent dans la manière de faire. Le procédé commun est l'apport de fieldrecordings captés en mars 2017, sur de la percussion bruitiste. Chez Felipe Araya, ce que j'ai préféré le plus est ce mêlange instantané de jeu et de sons environnementaux dans un montage brut et léger à la fois. On retrouvait un peu cela sur le disque d'Alvarius B, « vs Abdel Baki, Byro in Cairo » sur Nashazphone. Une balade, j'allais le dire avant de lire les quelques notes de pochette, en micro cravatte...et bien non, il s'agit d'enregistrements sur téléphone portable. J'aime vraiment ces incursions de musiques concrètes urbaines, apparitions subtiles en immersion, qui disparaissent comme elles sont venues, discrètement. Le « No punata » est quant à lui plus rêche, plus nerveux. Assemblage de notes cristallines, de musique folklorique et de râles tels des vibrations de membranes de haut parleurs. Assez intrigant ce son d'ailleurs dont on ne sait s'il est acoustique ou électrique. C'est cette confusion qui me charme chez Cristian Alvear. - Cyrille Lanoë

(Sound Projector) Felipe Araya is a Chilean performer who takes an unorthodox and minimalist approach to playing his Peruvian cajón, a box-shaped percussion device. The conventional way to play it is to strike the sides of the box with sticks or hands. Instead, Araya uses it like a table-top with various small objects laid on top of it, which he rubs and strikes and scrapes. On the cassette Punata (EH?96) you can hear him (almost) doing just this; the first side is interspersed with lively field recordings from the streets of Bolivia, which he captured on his mobile phone, while the second side ‘No Punata’ is the document of a minimal-rumbly cajón performance, with some exciting moments of heavy sawing and rubbing actions. The fact that Cristián Alvear recorded this (he’s the Chilean quiet guitarist and acolyte of the Wandelweiser school) may clue you in to what to expect, but even so it’s not as “uneventful” as I might be making it appear. It might not be too far off the mark to liken Felipe Araya to Alfredo Costa Monteiro, who likewise “repurposed” a conventional instrument (the accordion) and was not averse to a good scrape-and-rumble bout. There may also be some mileage in the thought that a Chilean musician is trying to find inroads into the cold, European school of Wandelweiser, and colonise it on his own terms. - Ed Pinsent


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