EN EL MARAVILLOSO MUNDO DE INGESON

Los Speakers

EN EL MARAVILLOSO MUNDO DE INGESON


23,00


Los Speakers

EN EL MARAVILLOSO MUNDO DE INGESON


POR LA MAÑANA
POR LA MAÑANA
ODA A LA GENTE MEDIOCRE
ODA A LA GENTE MEDIOCRE
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
REFLEJOS DE OLLA
REFLEJOS DE OLLA
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
NIÑOS
NIÑOS
NO COMO ANTES
NO COMO ANTES
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
UN SUEÑO MÁGICO
UN SUEÑO MÁGICO
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN
SKU: MR 432  |  ,

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music.

One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.

First time reissue.

By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record “Olvídate” set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968.

In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company’s name was included in the title of the record.

For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix “El maravilloso mundo de Ingeson”, It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding…

Although it’s often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism.

Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels’ verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations.

Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure… “El maravilloso mundo de Ingesón” is one of the most brilliantly whacked-out psych LPs to emerge from South America.

Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.

First time reissue.


23,00


POR LA MAÑANA
POR LA MAÑANA
ODA A LA GENTE MEDIOCRE
ODA A LA GENTE MEDIOCRE
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
REFLEJOS DE OLLA
REFLEJOS DE OLLA
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
NIÑOS
NIÑOS
NO COMO ANTES
NO COMO ANTES
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
UN SUEÑO MÁGICO
UN SUEÑO MÁGICO
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music.

One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.

First time reissue.

By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record “Olvídate” set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968.

In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company’s name was included in the title of the record.

For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix “El maravilloso mundo de Ingeson”, It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding…

Although it’s often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism.

Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels’ verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations.

Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure… “El maravilloso mundo de Ingesón” is one of the most brilliantly whacked-out psych LPs to emerge from South America.

Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.

First time reissue.

Productos relacionados


23,00


EN EL MARAVILLOSO MUNDO DE INGESON

POR LA MAÑANA
POR LA MAÑANA
ODA A LA GENTE MEDIOCRE
ODA A LA GENTE MEDIOCRE
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
REFLEJOS DE OLLA
REFLEJOS DE OLLA
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
NIÑOS
NIÑOS
NO COMO ANTES
NO COMO ANTES
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
UN SUEÑO MÁGICO
UN SUEÑO MÁGICO
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN
SKU: MR 432  |  ,

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music.

One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.

First time reissue.

By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record “Olvídate” set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968.

In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company’s name was included in the title of the record.

For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix “El maravilloso mundo de Ingeson”, It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding…

Although it’s often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism.

Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels’ verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations.

Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure… “El maravilloso mundo de Ingesón” is one of the most brilliantly whacked-out psych LPs to emerge from South America.

Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.

First time reissue.


23,00


Los Speakers

EN EL MARAVILLOSO MUNDO DE INGESON

POR LA MAÑANA
POR LA MAÑANA
ODA A LA GENTE MEDIOCRE
ODA A LA GENTE MEDIOCRE
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
REFLEJOS DE OLLA
REFLEJOS DE OLLA
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
NIÑOS
NIÑOS
NO COMO ANTES
NO COMO ANTES
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
UN SUEÑO MÁGICO
UN SUEÑO MÁGICO
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN
POR LA MAÑANA
POR LA MAÑANA
ODA A LA GENTE MEDIOCRE
ODA A LA GENTE MEDIOCRE
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
HAY UN EXTRAÑO ESPERANDO EN LA PUERTA
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
SI LA GUERRA ES BUEN NEGOCIO, INVIERTE EN TUS HIJOS
REFLEJOS DE OLLA
REFLEJOS DE OLLA
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
HISTORIA DE UN LOTO QUE FLORECIÓ EN OTOÑO
NIÑOS
NIÑOS
NO COMO ANTES
NO COMO ANTES
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
LA BANDA LE HACE UD. CAER EN CUENTA QUE…
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
NOSOTROS, NUESTRA ARCADIA, NUESTRA HERMANITA PEQUEÑA. GRACIAS POR LOS BUENOS RATOS
UN SUEÑO MÁGICO
UN SUEÑO MÁGICO
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN
SALMO SIGLO XX, ERA DE LA DESTRUCCIÓN
SKU: MR 432  |  ,

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music.

One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.

First time reissue.

By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record “Olvídate” set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968.

In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company’s name was included in the title of the record.

For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix “El maravilloso mundo de Ingeson”, It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding…

Although it’s often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism.

Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels’ verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations.

Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure… “El maravilloso mundo de Ingesón” is one of the most brilliantly whacked-out psych LPs to emerge from South America.

Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.

First time reissue.

Productos relacionados