For the first time native instruments of Andean and Amazonian music are used to compose concrete music.

Originally released as a cassette tape in 1984, the re edition include three more electronic pieces.

By the end of the 1970s, a new generation of musicians who brought together ancestral and forefront, became visible in Lima as they searched for native sounds and the new tools of technology.

Amongst them, we find Arturo Ruiz del Pozo, composer who studied with Edgar Valcárcel. After studying at the National Conservatory in Lima he traveled to London in 1976 to register himself at the Royal College of Music where he took a master's degree in electronic composition.

Ruiz del Pozo had left Lima with a bag full of Peruvian native instruments with the idea of utilizing them in his future compositions.

In London he was taught by Lawrence Casserly, one the prominent figures of Britain's electro acoustic composition; a musician who was fascinated by the interaction of instruments and electronic media way back from the times of his fundamental audiovisual experimentation group Hydra (1972).

Ruiz del Pozo utilized a series of concrete music resources learnt from Casserly. Based on sounds that came from native instruments and diverse manipulations to which these sounds were subject of, he obtained textures and sonorities, which, at the same time they invoked rituals, they opened a new field of experimentation; a collage of sounds of Andean reminiscence, echoes and abstractions, which introduce us in an unprecedented sound universe.

These recordings were named NATIVE COMPOSITIONS (COMPOSICIONES NATIVAS) and they were released in a cassette tape format in 1984 by the author himself.

More than 30 years later Buh Records rescued these recordings to inaugurate its Essential Sounds (Sonidos Esenciales) collection, dedicated to publishing strange and fascinating artifacts of Peruvian experimental music of this period, in a CD edition, which was quickly sold out.

Now finally we have the first release as an LP.