Vi la pampa arder (I saw the pampa burn) is the second album of Argentinian, Buenos Aires-based experimental guitarist (and sound and visual artist) Luciana Bass for the American label Relative Pitch, following her solo album Desatornillándonos (2024, mastered by fellow experimental guitarist Killick Hinds). Bass leads a trio with fellow Argentinian bassist Ezequiel Jaime and drummer (and audiovisual software developer) Federico Isasti. The album was recorded at Casa Newton in Escobar in January 2025. Bass designed the cover artwork after a sculpture by Mateo Baggio.
The trio of Bass, Jaime, and Isasti is not a typical guitar trio. This power trio is centred on Bass’ volatile, feedback-laden, and distorted guitar sound, propelled and intensified by the equally intense, eruptive, and energetic free pulses of the rhythm section of Jaime and Isasti. You can hear in Bass’ guitar playing echoes of Sonny Sharrock (to whom she dedicated the opening piece of Desatornillándonos) and a raw and dirty post-punk sound. Often, the trio’s collective, powerful, and intense dynamics gravitate briefly into tight, rhythmic, and remotely playful segments. But most of the time, this exploratory trio focuses on deconstructing any attempt to sketch a familiar structure, while investigating and reassessing its expressive sonic palettes, with great command and no attachment to any form or clear narrative.
Wenchi Lazo is an Argentinian, Buenos Aires-based guitarist, bassist, improviser, and producer who has played a prominent role in Buenos Aires’ independent and experimental rock and jazz scenes. Mientras exista (As long as it exists) is Lazo’s debut duo album with Bass, who is a generation younger. The album was recorded live at the home of fellow Argentinian guitarists Mu Sánchez and Nana Arguen in Buenos Aires in May 2025. Lazo and Bass enjoyed the intimate home setting and even used some of the hosts’ equipment. The music was improvised on electric guitars with an occasional use of objects and pedals. Bass did the cover artwork.
The album offers seven urgent, experimental conversations – or passionate dances and heated arguments – by two fearless and restless improvisers, who often use their guitars as abstract, thorny, resonant, and noisy sound generators, but also allow themselves to drift with quiet and lyrical textures (check «Cenizas») and expansive soundscapes («Si lo zamarrea el chucho»). Throughout the album, Lazo and Bass sound as if they had a lot to share, but both insisted on keeping their own distinct sonic palettes even when their lines tangle and pull apart.
Eyal Hareuveni
Luciana Bass (electric guitar, objects, pedals), Ezekiel Jaime (electric bass), Federico Isasti (drums), Wenchii Lazo (electric guitar, objects, pedals)
