Miguel Noya’s music responds to an environment steeped in disharmony. In the 1980’s Venezuela endured ballooning hyperinflation, violent riots, government corruption and brutal economic crises. Yet, powerfully, the material here acts as an antidote to this chaos. A calm, blissful, protective shield against the dangers and stresses of this unrest. Noya - a graduate of both Berklee College of Music and MIT (he holds degrees in Electronic Music and Digital Sound Synthesis, respectively) - held his own teaching position in Caracas throughout this period, protecting himself from the trauma with his music.
His solo albums - ranging from 1984’s deep sci-fi-synthesis exploration Gran Sabana to 1990 installation soundscape (scarce finds of the original cassette issue sell, at the time of writing, for three figures) Ángeles Enviados - were all self-released. And as such short-run, private releases, most original copies have either been sequestered away into collectors’ vaults or, perhaps inevitably, have disappeared altogether.