Call for residences and sound-walk series “Melismas”

Call for residences and sound-walk series

A self managed residency with series of sound-walks to listen at a distance to the Azan* singing modulated by the rural landscape of Demre (Turkey).
This experience of sonic contemplation is based on the ideas I applied when making the field recordings for the composition of “Melismas (voices modulated by Anatolian landscapes)”. This was a radio piece recently broadcasted by Q-O2 / Oscillation Festival – Tuned Circuits (Brussels) and which will be re-broadcasted by the online radio stations Kool Kast (France) and Ma3azef – Badlcukwind show- (Tunisia). The piece consists of raw field recordings acoustically affected only by the landscape, with no post-production effects other than equalization and cross-fades. You can listen to an excerpt of the radio piece in the video above.
It is not required to have any skill in sound, arts or any specific discipline to join this residency.
For specific details about the residency program, conditions, pictures of the locations and COVID-19 regulations, please read or download this PDF file.
For any extra information, please contact me through email : galchrs(at)gmail(dot)com
We can talk via FB chat, Skype and other means too. Email me to coordinate an appointment previously.
*The Azan is the Islamic call to pray, sung by a muezzin at prescribed times of the day from a high Minaret placed in a mosque.
Posted in Uncategorized | Comments Off on Call for residences and sound-walk series “Melismas”

Radio piece for Oscillation Festival 2021

On April 30 there will be a live broadcast of `Melismas (voices modulated by Anatolian landscapes)’ my radio piece which will be part of Oscillation Festival 2021 (Brussels). Follow the link below for more details about the festival. The piece is based on raw field recordings of landscapes perceived as radical acoustic filters of Azan singings. In order to share the experience of the development of this piece, soon I will announce a call to participate in a workshop / sound walk that will include a few days stay in Antalya (Turkey). For more information about the workshop write to this email: galchrs(at)gmail(dot)com
https://oscillation-festival.be/ 
About the piece:
“Even when the muezzins seems to sing the same Azan in the same tuning, rhythm  and at the same time, the distance between their locations (the Minarets) generates microtonal changes in our perception as listeners. I made these recordings in the paths and hills of Demre, a town placed between a chain of mountains and a valley that finishes in the Aegean Sea.  Depending of the position of the listener, you can perceive multilayered echoes and changes in the waves envelopes of the singing, among other effects. So, landscapes could be radical sounds filters and because this also mind-filters.  This phenomenon generates rhythms  which could influence in the timing of the singings for example. These rhythms also are present in other sounds of the surroundings, as the roar of the sea which -according to the weather- could be modulated by eroded wild marble stones , the water and the wind. So all is affected from different angles by the same landscape. This morphic resonance is in constant and retroactive feedback with us.  In the case of the singing: a rhythm suggested by the landscape could generate a musical or visual shape, a shape becomes part of the imaginary of a culture then a mind-set. All this is about tuning. It is a call.” (Sajjra Xhrs Galarreta, extract of an interview with Ugne Vyliaudaite)

Posted in Uncategorized | Comments Off on Radio piece for Oscillation Festival 2021

“Larynx Lux” premiere in Hangar (Barcelona)

“Larynx Lux” (Luz Laringea), my piece for the Voice-Skin project of Janneke van der Putten will be premiered on April 23 in Hangar (Barcelona) . The piece explores trance effects through throat singing and glottis attack vocal techniques, in combination with the exposure of the listener-singer to silence intervals and otoacoustic emissions played by mobile speakers. More information about “Laynx Lux” and other pieces composed by Werner Durand and Philemon Mukarno in the post below. The “Voice-Skin” was developed by Arden Rzewnicki, Jesse Howard and Janneke van der Putten in collaboration with me and the mentioned composers.

Rarefacció: Janneke Van der Putten / Noish

Posted in Uncategorized | Comments Off on “Larynx Lux” premiere in Hangar (Barcelona)

English/Spanish review of “Uchuraccay” in Discipline Mag

“Shocking, powerful, and challenging, Uchuraccay is a harrowing look into a grisly piece of Peruvian history from experimental sound and noise artist, Sajjra” (Daniel de Jongh).
Photo: “Uchuraccay” tape cover and Sajjra’s performance at the Jogja Noise Bombing Fest 2020
Read complete review in Discipline Mag site:
https://www.disciplinemag.com/…/sajjra-xhrs-galarreta…
English:
Hailing from Peru, the artist Sajjra (atypically releasing work under full name, Sajjra Xhrs Galarreta here) is one who manages to poke its head out from the somewhat overlooked experimental underground of South America. Time in Europe certainly helped for exposure, but Sajjra’s work stands out from your usual (excuse the oxymoron) experimental noise music.
Seeking inspiration from the Andes mountains, these sparse landscapes translate into deep and spiritual soundscapes. Emphasis on the natural world being a departure from what many could expect from noise music which more commonly concerns itself with urban depravity. With vastness at the helm of Sajjra’s output, their sound finds intensity and impact less through imploding cacophony, and more through ritualistic sonic exorcism.
Discipline Mag first caught wind of Sajjra at the Jogja Noise Bombing Fest in 2020. Their performance involved spitting Arak (Indonesian rice wine) over the audience, connecting a lighter flame to a contact mic, and a motorbike. The performance’s total lack of boundaries resembling little less than a reckless sonic purge.
On Uchuraccay, Sajjra retains the thematic linkage to their home country. Uchuraccay was a village whose location saw it dragged into conflicts between the Peruvian state army and Guerilla rebel group, Sendero Luminoso. Ordered by the state to kill any visitors to their village, Uchuraccay’s inhabitants murdered eight journalists and a guide who entered. Retribution for this fateful accident resulted in the killing of 135 farmers by the state. Consequently, the village fled in 1984, abandoning their homes and livelihoods for the unknown.
The two tracks on Uchuraccay occupy a side each of the cassette, with the 22-minute title track taking pride of place on side A. The tone of distress is set in the opening minutes. High pitched and painful wails gradually emerge like distant moans of pain and alarm. Supported by little more than ringing cymbals of traditional instrumentation and a very minimal synth drone. After meandering in uncertainty and caution, it’s around the five-minute mark that “Uchuraccay” becomes damaged beyond repair.
Like the impact of a blunt instrument, the track explodes with force and tension. Deep blasts of sound are accentuated with disconcerting synth passages and perpetual drone. The wails increase in both severity and frequency while the number of contributors increase in tandem. As the moans subside, the sense of disarray is carried until until its conclusion, fading with a linger that signals it never really finished.
“Uchuraccay” has three distinct movements that read like the events of a single day’s carnage. Almost as if from the perspective of a returning villager, the distant screams and agony of the opening function as a warning of the unfolding calamity. The continual pounding of the second movement signifying the horror of bearing witness to the systematic attack upon your own community. And the droning final piece having a sense of bewilderment at what has just happened. Even as the moment has passes, processing the experience is equally as violent.
The second track on side B, “Sirinu Wayra Tanqanakuy (Otoacoustic Emisisons from the Wind)”, is a psychoacoustic sound experiment. Taking sound recordings from the Austrian Tirol Mountains and the seaside of The Hague, the environmental ambience is amplified through equalisation and editing.
Side B’s persistent jangles and undertow of droning wind create a feeling of atmospheric oppression. Over the course of its 15-minute run time, the piece becomes disorientating as your mind comes to identify patterns, whether present or not, within the sharp psychedelic waves of sound. While the track takes the release out of Peru and outside of Uchuraccay’s struggle, in some ways it feels like the natural next chapter. For those who have had their comfort, safety, and security torn away from them, they are now confronted by their new reality: a cruel and windy void of mountainous nothingness.
Shocking, powerful, and challenging, Uchuraccay is a harrowing look into a grisly piece of Peruvian history. Keep an eye out for upcoming French documentary, “À qui veut bien l’entendre” that features Sajjra alongside French stalwart of harsh noise wall, Vomir.
Review by Daniel de Jongh.
Listen or purchase here.
Español:
Natural de Perú, el artista Sajjra (quien edita sus trabajos, atípicamente, bajo su nombre completo Sajjra Xhrs Galarreta) es alguien que consigue sobresalir de entre el underground experimental de Sudamérica, en cierta manera ignorado. Sus estancias en Europa le ayudaron, ciertamente, a tomar relevancia, pero el trabajo de Sajjra destaca entre el habitual género de ruido experimental (perdón por el oxímoron).
Buscando inspiración en los Andes, aquellas visiones vacías se traducen en profundos y espirituales paisajes sonoros. La naturaleza es enfatizada, evadiéndose de lo que muchos podrían esperar del ruidismo, relacionado más generalmente con la depravación urbana. Con la inmensidad al timón de su producción, el sonido encuentra la intensidad y el impacto más a través de un exorcismo sonoro ritual que de la cacofonía implosionadora.
Discipline Mag descubrió a Sajjra en el Jogja Noise Bombing Fest de 2020. Su actuación incluyó escupir Arak (vino de arroz indonesio) al público, quemar un micrófono de contacto con un mechero, y una motocicleta. Su total ausencia de límites poco menos se asemeja a una temeraria purga sonora.
Sajjra mantiene en Uchuraccay el enlace temático con su país de origen. Uchuraccay fue un pueblo cuya localización se vio arrastrada a conflictos entre el estado peruano y la guerrilla rebelde Sendero Luminoso. Los habitantes de Uchuraccay, bajo órdenes del estado de matar a cualquier visitante, asesinaron a ocho periodistas y a un guía que entraron en el poblado. En venganza por este fatídico incidente, el estado asesinó a su vez a 135 granjeros. En consecuencia, la población huyó en 1984, abandonando sus casas y medios de vida hacia lo desconocido.
Los dos temas de Uchuraccay ocupan una cara del casete cada uno, con el tema homónimo de 22 minutos privilegiándose de la cara A. El tono de angustia se establece durante los primeros minutos. Los lamentos agudos y dolorosos emergen como gemidos lejanos de dolor y alarma, apoyados por poco más que unos platillos de instrumentación tradicional y un zumbido de sintetizador mínimo. Después de vagar entre la incertidumbre y la mesura, es hacia los cinco minutos cuando “Uchuraccay” acaba dañándose irreparablemente.
El tema explota con fuerza y tensión, como el impacto de un instrumento contundente. Profundas explosiones de sonido son acentuadas con pasajes de sintetizador desconcertantes y un zumbido perpetuo. Los lamentos aumentan tanto en severidad como frecuencia, mientras que el número de contribuyentes va aumentando en conjunto. A medida que los gemidos van disminuyendo, la sensación de desorden continúa hasta el final, desvaneciéndose con una cadencia que indica que nunca terminó.
“Uchuraccay” posee tres movimientos distintivos que se van interpretando como los eventos de un día de carnicería. Los gritos distantes y la agonía de la apertura funcionan como advertencia de la calamidad que se aproxima, casi como desde la perspectiva de un habitante que está de regreso. El continuo martilleo del segundo movimiento da significado al horror de ser testigo del ataque sistemático contra tu propia comunidad. Y el zumbido final de la pieza tiene el sentido del desconcierto por lo que ha ocurrido. El momento pasó, pero asimilar la experiencia es igualmente violento.
El segundo tema en la cara B, “Sirinu Wayra Tanqanakuy (Otoacoustic Emisisons from the Wind)”, es un experimento psicoacústico. La ambientación es amplificada mediante ecualización y edición, usando grabaciones de las montañas del Tirol austríaco y la costa de La Haya.
Los tintineos persistentes de la cara B y la resaca del viento zumbador crean un sentimiento de atmósfera opresiva. A lo largo de sus 15 minutos de duración, el tema se va tornando desorientador a medida que la mente va identificando patrones, presentes o no, de entre las agudas y psicodélicas olas de sonido. A pesar de que este tema se aleja de Perú y de la lucha de Uchuraccay, se siente de alguna manera como el natural episodio posterior. Aquellos a quienes se arrebató su comodidad, seguridad y protección se enfrentan ahora a su nueva realidad: el frío y el viento en el montañoso vacío de la nada.
Impactante, poderoso y desafiante, Uchuraccay es una mirada desgarradora dentro de una parte de la historia peruana. Estate atento al próximo documental francés “À Qui Veut Bien L’entendre” que presenta a Sajjra junto al incondicional muro de ruido extremo, Vomir.
Escucha o compra aquí.
Los casetes se presentan envueltos en un saquito de paja, muy parecido a lo que los habitantes del poblado habrían usado para transportar sus pertenencias más importantes cuando huían de sus hogares.
Reseña por Daniel de Jongh.
Posted in Uncategorized | Comments Off on English/Spanish review of “Uchuraccay” in Discipline Mag

Evamuss contribution in compilation of Martine Ravage Records

“Yurimaguas” by Evamuss

Listen all compilation

Posted in Uncategorized | Comments Off on Evamuss contribution in compilation of Martine Ravage Records

Sonic Chair sc01 at Meakusma Festival

Sixteen sound pieces for a SONIC CHAIR sc01

Andreas Oskar Hirsch, Cologne, ROW OUT, 24:38, stereo, 2011 / 2017
Achim Mohné, Cologne, Music for, by & through a Sonic Chair sc01, stereo, 2017
Janneke van der Putten & Chrs Galarreta, Rotterdam/Lima I.A. Maastunnel,13:39, stereo, 2017
extract for a sonic chair || Martificial 00:06 || The Call 04:27 || Coral 08:44
Miki Yui, Düsseldorf, ellecsielle, 17:14, stereo, 2017
commissioned by Georg Dietzler for soundwaves – series on sound art, Cologne
Ross Parfitt, Münster: All of the instruments in the house right now
(4:55 min. Samples thanks to Roman Nose.)
Ross Parfitt & Erhard Hirt & Florian Walter, Münster: Triotype
(März, 2017, 6:09 min.)
Stan Pete, Halle/Westfalen: polyranger (S017, 5:10 min.)
Achim Zepezauer, Dortmund: ohne Titel (Februar, 2017, 6:09 min.)
well-chosen by Erhard Hirt, Münster
Artificial Memory Trace, Mountshannon/Ireland: Memories of Now, 7:10 min., stereo, 2018
Das Synthetische Mischgewebe, Caen/France: Heldensägen 01, 6:00 min., stereo, 2018
N(64) – N (Hellmut Neidhardt), Dortmund: Berg_Fidel, 6:59 min., stereo, 2018
Colin Potter, London/England: Are You Sitting Comfortably?
commissioned by aufabwegen /Till Kniola, Cologne
Claus van Bebber, Konzert KHM/Academie for Media Arts, Cologne 2016, II
Gailė Griciūtė, Some Of All (Excerpt)
Peter Strickmann, Mauernap, Auszug#03, Schnarcharchiv
Marta Zapparoli, Live At mex (Excerpt 2018)
well-chosen by Achim Zepezauer, mex, Dortmund
http://www.meakusma-festival.be/
Posted in Uncategorized | Comments Off on Sonic Chair sc01 at Meakusma Festival

Film “À qui veut bien l’entendre” in FAME Festival 2021

“À qui veut bien l’entendre” film of Jérôme Florenville is selected to be screened in “FAME 2021 – Festival international de films sur la Musique “(Paris) and in “Rock this town” Festival (Pau).
Posted in Uncategorized | Comments Off on Film “À qui veut bien l’entendre” in FAME Festival 2021

Exhibition AUDIOSFERA: Sound Experimentation 1980-2020

An extract of my release “Raw Field Recordings II : Electromagnetic Detritus” is part of the exhibition “AUDIOSFERA: Sound Experimentation 1980-2020” placed Reina Sofia Museum (Madrid) and curated by Francisco lopez. If you are in Spain try to visit it, if not download the press material in this website:
https://www.museoreinasofia.es/en/exhibitions/audiosphere

Listen or buy all the release “Raw Field Recordings II : Electromagnetic Detritus” following this link
Posted in Uncategorized | Comments Off on Exhibition AUDIOSFERA: Sound Experimentation 1980-2020

New release: Sajjra Xhrs Galarreta – Uchuraccay

Sajjra Xhrs Galarreta – “Uchuraccay” (Cassette, Blindblindblind, Hungary, 2021)

Side A : “UCHURACCAY”
Between 1980 and 1992, Peru experienced the worst internal armed conflict in its republican history that left more than 69,000 dead people. During these violent times, the inhabitants of Uchuraccay (village in the Peruvian province of Huanta, located 4,000 meters above sea level) suffered the consequences of this war. They were in the middle of the confrontations between the guerrilla group Sendero Luminoso and the Peruvian state army. In 1983, the Peruvian state army induced the inhabitants to kill whoever approaches the village. Thus, on January 26 of that year, the village people were involved in the massacre of eight journalists and their guide (who were assumed to be senderistas) between another murders. This was the consequence of the extreme violence spread around by the Peruvian state army and Sendero Luminoso, which increased the discrimination by the Peruvian government to the Uchuraccay inhabitants who were persecuted and treated as criminals. Little is known of the 135 farmers of Uchuraccay were killed in the following months and years after this happened. Under this condition, the entire community of Uchuraccay upped and fled one night in 1984, leaving their animals, their homes, their crops, their fields and all their belongings behind to find a new place to live.
This track was edited, mixed and composed by Christian Galarreta in different periods between 2015 – 2017.
The sounds where recorded under the direction of Galarreta in different times and locations with the participation of different friends:
Cicadas (by Galarreta. 2004, Yurimaguas)
Screams and wailings (with Sabrina Melenotte, Sinuhé Guevara and Sergio Sanchez Teissier. 2009, Mexico DF)
Broken piano and small motor (by Galarreta, 2013, The Hague).
New Years Day fireworks (by Galarreta. 2014, The Hague).
Singing through the tubes of harbor (with Janneke van der Putten. 2015, Rotterdam)
Toilet tubes and sound installation (by Galarreta, Bourges 2006)
Synthesizer (by Galarreta, Rotterdam 2016)
Side B: “SIRINU WAYRA TANQANAKUY” (Otoacoustic Emisisons from the wind)
This track is based in field recordings of weird acoustic phenomenons generated by some landscapes: the echo of cowbells reflected by the Austrian Tirol mountains (recorded in Summer 2012) and the sound of the wind shaking cords of sailboats in The Hague – The Netherlands (recorded in winter 2013). These recordings were equalized in order to enhance tones hidden in the dynamics of the wind sounds and of
the acoustic reflections of the mountain. These tones can be confused with melodies or singing.
I consider these kind of pieces as psychoacoustic experiences more than musical compositions. During the process of equalization of this track I experiment with OAEs (Otoacoustic Emissions)*. To get the OAEs effect the piece needs to be played loud. In some parts of the piece, the listening could be uncomfortable as a first sensation. After a while, some distorted sounds and some overtones appear in the cochlea evoking the hidden melodies or singing mentioned above. In some cultures this phenomenon became in acoustic related myths as the myth of sirens for example.
*An OAE is a “low-level sound emitted by the cochlea either spontaneously or evoked by an auditory stimulus”
(Otoacoustic Emissions: Beyond Newborn Hearing Screening Rebekah F. Cunningham, PhD).
In Quechua (Andean language):
Sirinu = a spirit of the nature, devil for Christians
Wayra = wind
Tanqanakuy = pushing each other
This track was edited, mixed and composed by C. Galarreta in 2017.
credits
released February 5, 2021
Many thanks and love for Janneke van der Putten, Sabrina Melenotte, Sergio Sanchez T. and Sinuhé Guevara for their generous singings, moanings, screams and wailings during my recordings and try outs for the track “Uchuraccay” (Side A of this release).
Label link: https://blindblindblind.bandcamp.com/
Posted in News, Uncategorized | Comments Off on New release: Sajjra Xhrs Galarreta – Uchuraccay

Karvng Nyavva & Sajjra Xhrs Galarreta (Split, Potong Jari 2020)

Split with my brat Karvng Nyavva / Yoga Ghafara
(Indonesia) . Via Potong Jari . Enjoy!

Recorded at Rotterdam & Bali by Sajjra & Yoga Ghafara
Artwork & design by NSO
Released by Potong Jari
PJR-033
Posted in Uncategorized | Comments Off on Karvng Nyavva & Sajjra Xhrs Galarreta (Split, Potong Jari 2020)