#peruvian music

[nofatclips-home]

Amor Tierno Amor by Los Mirlos, live on KEXP

[nosefish]

🏵️Eva Ayllón🏵️𖤓☽｡⋆

yo yo yo welcome back to this blog❤️

Today's artist is Peruvian legend Eva Ayllón. She's one of the most recognizable singers of peruvian creole music (música criolla), a very interesting genre that encapsulates the rich and varied culture of the country, mixing influences from Andean music (música andina), African music and European dances (like waltz and mazurka).

Eva Ayllón's musical career starts as a solist in the 1970s; she later joined the group "Los Kipus" and reached national recognition. (P.S. some of her best recordings are listed in Los Kipus' profile if you're using Spotify!)

Here's my favourite song from one of their best album:

Also called "la Reina del Landó", Eva is regarded as the best representative of afro-peruvian music. Landó is a dance originated from Angola, in Africa, where it was used to accompany marriage cerimonies. It was brought to Perú by the Spanish slave trade in the 16th century. There's also samba landó, which is very similar, from what I gather, though some people consider it to be the same as landó.

You can also find several other afroperuvian dances in her discography, like "Inga" for example.

Here's my favourite recording of "Taita Guaranguito", a landó song:

▪️yes pls:

[heritage-harmony-records]

NEW SINGLE/MUSIC VIDEO STREAMING NOW!!!

Danza de Sombras is the new single from Peru based psychedelic/indie/alternative rock band Metanoia Groove , released March 8th 2025.

[thesinglesjukebox]

LENIN - "INTIRAYMI"

Next, from Jessica, a Peruvian house banger with layers...

[7.46]

Jessica Doyle: Don't worry about the backstory yet, there's no rush. Let's start by enjoying a party jam whose ambition shows in its structure: in an era of two-minute songs and dance tracks with no actual rhythm, "Intiraymi" has not only the required bouncy chorus that ends with "ĄEs un carnaval!" but a distinct repeated pre-chorus and a distinct bridge during which to gear up for the final dance. Also, let's face it, this is the best use of strings in a K-pop or K-pop-adjacent song since the legendary "The Ghost of Wind." Even the song's more subtle touches -- that Lenin ends the initial rounds of the chorus on a lower note, so it has more impact when he doubles himself going higher at the end -- work in its favor. Okay, now we can throw in the backstory: Lenin Tamayo Pinares is the son of an Andean folksinger and native speaker of Quecha, and not only a self-produced musician but one committed to using contemporary Andean music as an agent of collective empowerment for indigenous minorities (and hopefully getting an undergraduate thesis done on the topic while he's at it). Fun is fun, and "Intiraymi" is well-crafted, contagious fun no matter how little time you want to invest in it, but you do need a little bit of context to understand why I want this man to realize all of his ambitions and then some. [9]

Nortey Dowuona: "This is not only a positive message," he said of his music. "It's a battle." [10]

Taylor Alatorre: If I were to listen to this without looking any further into Quechua culture, I'd have to guess that the Intiraymi is basically akin to a Copa América celebration. Lenin shows more interest here in creating sounds with cross-border appeal than in putting centuries of suppressed history on display, as is fully his right. Those violin breaks act as tethers to a living past rather than dusted-off artifacts of an ancient one, more evocative of extended family gatherings than Inca and Chanka glories. The sense of forced fun is never entirely absent, but that's something it has in common with family gatherings as well. [6]

Jacob Sujin Kuppermann: Intiraymi is a (Southern Hemisphere) Winter Solstice festival, so it feels appropriate to review "Intiraymi" as I experience the Northern Hemisphere equivalent. This is a banger for the shortest day of the year, a concentrated, poised delivery of hooks that eventually folds into a giddy, delirious fit of ecstasy. [8]

Ian Mathers: Of course, there are only so many combinations of different letters out there; when different languages share the same character sets, you're going to get some weird and/or funny overlaps. Which explains why someone going by Lenin is singing the praises of an Incan festival for the sun god. He's got an interesting background, but I don't have the context to know how significant the subject matter here is. But that's all kind of just background; I don't even need the subtitles to tell that the chorus is celebrating some sort of carnival, and infectiously so. [7]

Joshua Minsoo Kim: An ebullient little house-pop charmer. It's a bit too cheery for my tastes, but those strings are something to celebrate. [5]

Brad Shoup: LENIN's very unsweaty take on K-pop is the draw for sure, but dig that chorus: it sounds like Suede. [7]

Michelle Myers: When you're a K-Pop fan, everything starts to sound like idol music. Tate McRae? She's K-Pop. Ed Sheeran? Totally K-Pop. Nu Metal? That's just Ateez with guitars. But Lenin Tamayo is different. He's purposefully trying to make music that sounds like the Peruvian equivalent of an early 2010s Kenzie banger. [8]

Frank Kogan: This is excitement from the start, the danceable violin riff and the floor beats coming in, a melody with punch and lilt, and on from there: fiddle breaks, sensitive idol star interludes, absolutely sing-a-long-able chorus. His voice is as small as Hilary Duff's, and the wails are more gestured at than actually wailing; so he's getting by on brains more than vocal cords. That's not bad at all, if the arrangements and songwriting get the music to go where he wants it, which they emphatically do here. [7]

Kayla Beardslee: It's so hard to go wrong with a rousing piano-house banger, and this one certainly doesn't! [7]

Aaron Bergstrom: The Inca had a pretty advanced understanding of astronomy. Based on the ruins they left behind, we know they could calculate the solstices with an impressive level of precision. They knew they lived in a clockwork universe, that the days would get shorter until a calculable date, after which they would start to get longer again. And yet, despite this scientific certainty, they still devoutly observed the Inti Raymi, a nine-day festival around the winter solstice dedicated to worshipping the sun god Inti. It's possible there were a few people in those crowds who gave themselves over fully to the supernatural, who worried that they days would keep getting shorter forever unless they properly demonstrated their devotion, but I think most people knew that the sun would return no matter what. That didn't make the Inti Raymi any less important to them. The return of the sun demands celebration, regardless of how your personal cosmology explains it. Anyway, I've been playing this song a lot lately. Today is the shortest day of the year. Tomorrow will be five seconds longer. I'm not saying I caused that, but I'm also not going to stop playing the song. Praise Inti. [9]

Will Adams: How refreshing for a cry of "es un carnaval!" to actually sound like it. How crucial it is for dance-pop bangers to be a little cheesy. [7]

Katherine St Asaph: Power in cheese. [7]

[Read, comment and vote on The Singles Jukebox ]

[gothmusiclatinamerica]

“Chrysalis” by Lima, Peru-based coldwave one-man-band Schmerz off of 2023 debut full-length album Lamentum

[gacougnol]

Peruvian ‘chicha’ cumbia is the music born in the "barrios bajos” (slums), alleys, hills and the peripheries of Lima on the coast and cities on the edge of the Andes mountains in the late 70’s and 80’s

(via ▶︎ Chicha Popular: Love & Social Political Songs from Discos Horoscopo 1977-1987 | Various Artists | Rebel Up! Records)

[theartofmany]

Hey, I took a video! While passing by Lima Downtown on a Tuesday, I found this group of traditional musicians and dancers, practicing a choreagraphy Huayno is one of the most famous folkloric dances in Peru. You really have to enjoy this upbeat and jolly music and dance (and don't forget their very colorful outfits) So much fun =) ...

[lutes-of-the-world]

I had the pleasure of joining Tonos del Sur on theorbo and archlute for a program of colonial New World music sung in three languages.

Tonos del Sur - Indiana University (Bloomington, IN) Sarah Cranor, Director

Indiana University’s Tonos del Sur, directed by Sarah Cranor, presents selections of music written in the New World and brought over from Europe, in Spanish, Latin, and Chiquitano. The ensemble explores and presents music from across Latin America, especially of anonymous or lesser-known composers, including in indigenous languages. For this Virtual Festival, we are delighted to share music drawn mostly from our February 2020 concert, including cathedral archives of Bogotá, Lima, Durango, and missions in Bolivia.

PROGRAM

Bolivia: Archivo Musical de Chiquitos Santa Ana y San Rafael Yyaî Jesuchristo (procesión au Jueves Santo), AMCh 370 Anónimo, ed. Piotr Nawrot

México: Catedral de Durango

La tempestad del mar (from Ms. Mus. 1B. 365): Allegro, David Perez (1711-1778) ed. Drew Edward Davies

Colombia: Catedral de Bogotá Villancico al nacimiento, José de Cascante I (fl. 1648-76)

Perú: Catedral de Lima Lamentacion Jeremiae Prophetae Tomás de Torrejón y Velasco (1644-1728)

España: “Flores de música” Differencias sobre las Folias compiled by Antonio Martín y Coll

Click here for the complete program including ensemble members, notes, and translations.