Electroacoustic music in Latin America is not something I've ever considered but such is the wonder of the inter-connectednetwerk headspace we find ourselves imprisoned in that I discovered a compilation of it this morning and through the medium of digitul trickery hereby pass it on because from what I've heard there are some very good examples of electroacoustic music being made in Latin America. Why shouldn't there be? Why should the French, Germans and, OK, the Americans and British etc etc dominate such things. They do not, of course, for as sure as Chelsea will win the league, someone will soon compile a collection of electroacoustic music from a country you only think you've heard of whilst skipping the outer reaches of the TV channels, passing through a documentary about the extraordinary wildlife of -----------------. The track below is as fine an example of locked-groovedustacoustica as I've ever heard. Elsewhere there is great diversity in approach to what is a vast genre in itself, the boundaries of which are blurred but this compilation is very worthwhile and demonstrates that fact admirably.
The best time to post this book would have been when Trump was elected, of course, but I didn't own it then. Besides, there are enough people prophesying 'the coming self-destruction of the U.S.A.' without me doing so and I'm not American, which doesn't prevent me from predicting doom, I know. When it was published (1969) the combination of the Vietnam war, student shootings, civil unrest and Ray Stevens' novelty hit Gitarzan were enough to make people feel the country was on the eve of (self) destruction, I imagine. No surprise then that Alan Seymour should fictionalise it. I looked for a photo of this edition on the internet but couldn't find it so here's my copy.