Track By Track: Búho Ermitaño discuss their new album, Implosiones
Búho Ermitaño, the trailblazing Peruvian psych explorers, have made a resounding comeback with their highly anticipated second album, Implosiones. From the invigorating beats of ‘Herbie’ that pulsate with percussion-driven rhythms to the mesmerizing neopsychedelia of ‘Explosiones,’ each song unveils its own irresistible charm with seductive melodies and impeccably crafted arrangements, immersing listeners in a transformative musical experience. In this exclusive track by track, the band takes us through their sophomore release one song at a time.
The piece was born in a jam session where it took on a more electronic and experimental vibe. Later on, we emphasized a very specific weight in the percussion, conceiving it as a sort of primitive-futuristic ritual in which the initial sound of brushes represents fire. If it’s not evident enough, there’s the influence of the more acid and funky side of Herbie Hancock. Hence the name.
2. ‘Explosiones’ (Explosions)
It also originated from the same sessions as Herbie. ‘Explosiones’ lyrically and musically describes the sensation of freedom achieved through a type of altered state of consciousness that magnifies the senses. So, the different sections of the track also express the various moments and sensations of that journey. The album takes its name, Implosiones, from the first word of the lyrics.
3. ‘Preludio’ (Prelude)
It dates back to the early days of the band. It’s a composition by Diego influenced by the movie Scarface and Chopin. The piece creates a necessary pause and sets a new course for what follows. Franz’s guitar complements it with an almost contrasting experimental and orchestral character inspired by shoegaze.
It originated from an initial demo made by Diego, where guitars prevailed in a psychedelic ballad style. ‘Ingravita’ is a piece that we thought of as a transition from life to death, depicting how the soul gradually leaves the body and suspends itself. The addition of Ale’s vocals, the zither, and particularly the theremin are characteristic of the final atmosphere we wanted to create. Finally, we added a “criollo” character – rhythms from the coast of Peru – to the rhythmic section to propel the energy that accompanies the fugue solo.
Initially composed by Franz under the influence of Ravi Shankar, with the idea of having four distinct sections as cuts: the last section would be a fugue in the style of a “danza de tijeras” (scissors dance). However, several years passed before we could give it a new ending, envisioning the headbanging sensation of an Afro-Andean dance with the power of heavy rock. Once the entire structure was composed, We recorded the rhythm section in a live session and then overdubs were added.
6. ‘Entre Los Cerros’ (Among the Hills)
Curiously, our first single was the last piece we composed for the album. The track had a previous version that we played live, but it was essentially a jam over a bass and synthesizer loop. During the pandemic, we decided to remotely compose a sort of ‘On The Run’ but with a broader scope. The drums have a quasi-dance beat, the guitar has hints of “chicha” (a Peruvian style of Andean cumbia), and the synthesizers and loops dominate the entire spectrum.
7. ‘Renacer’ (Rebirth)
It marks the end of our album. ‘Renacer’ is one of our oldest compositions. In its conception, Irving aimed to create a motivational warrior dance set in an uchronic scenario where the Incas reversed the battle against the Spaniards. Like ‘Buarabino,’ the rhythm section was recorded live in the same session. In the final process, we gave it a sense of religiosity from the Peruvian Andes, influenced by Can, Jimi Hendrix, Wara, and towards the end, flutes and quenas as if Brian Eno had envisioned them, creating a triumphant farewell scenario.
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