“Uchuraccay” cassette reviewed in Rockbook (Budapest)

“Uchuraccay” cassette reviewed in Rockbook (Budapest) : ” I thought long and hard about what “category” Uchuraccay could be placed in, but I had to realize that behind Sajjra’s alter ego, Xhrs Galarreta, each of his releases is something special inside and out: a documentation of an emphatic performance event, or an experiment that constantly pushes the morally and realistically constructed boundaries of our world. It asks questions and makes us think. It is capable of making time disappear. What lies beyond the psyche or matter? What lies behind low-frequency sounds barely perceptible to the human ear? Does real telekinesis exist? All these questions came to me after delving into them, and I still don’t really know the answers. In any case, fate has brought me together with an artist with an incredibly unique vision.” (By Lupus Canis)
To read all the review visit this link: Rockbook Budapest
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Aloardi and Evamuss mentioned in review about “History of the Peruvian Electronic Underground Music”

“In the 90s, Neo-Psychedelia would be the elixir of some inner circles such as Crísalida Sónica. This was an active element with a strong presence in the so-called Lima Norte: a whole generation nourished by Post Rock and Intelligent Electronic Music, from which names like the multi-disciplinary Aloardi platform would flourish (…) Under the alias of Evamuss, Christian Galarreta would publish a series of releases from the label-organization-collective ‘Aloardi’, which was also founded by him. A key figure in Lima’s experimental electronic music scene, his involvement in historical acts such as Crisálida Sónica, Evamuss left several sonic pieces that oscillate between post rock, ambient, and the more spiritualized psychedelia of the 90s.”
To read all the review visit this link: A Brief History of Peruvian Underground Electronic Music (90s-00s)

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“Melismas” residence experience – Héloïse Francesconi’s impressions

Permanent open call and more information about the residence: link
“Melismas (voices modulated by the landscapes of Anatolia)” is a program of residencies and a series of sound walks to listen from a distance to the song of the Azan* modulated by the rural landscape of Demre (Turkey). The residence is organized since June 2021 by the artists Sajjra Xhrs Galarreta (Peru) and Margarita Milova (Russia).
Video trailer credits
Text: Héloïse Francesconi (composer, France. https://francesconiheloise.com).
Pictures and video editing: Margarita Milova.
Sounds: azan singings and Quran recitations recorded at Demre during the residence by Francesconi, Galarreta and Milova.
*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.
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Evamuss – Despierta, remedio, cuenta (Cassette, Schematic, USA, 2021)

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Saturday July 10 , double broadcast!

THIS SATURDAY JULY 10, let’s welcome the New Moon with a double broadcast from France and Tunisia.  LISTEN ON LINE to “Melismas (voices modulated by Anatolian landscapes)” and an interview about the working process of this piece. You can listen to it from two radio shows, each of them shaped differently by the magical sound design of Anton Mobin (Kool Kast – France) and Nidal Taha ( (Ma3azef – Badlcukwind radio show- Tunisia ) .
Ma3azef (Badlcukwind radio show) https://www.ma3azef.live/
11Hs00 LIMA / 17Hs00 TUNISIA / 18Hs00 PARIS / 19Hs00 TURKEY & MOSCOW / 00Hs00 BALI
Kool Kast https://stream.krashboyz.org/public/koolkast
15Hs00 LIMA / 22Hs00 PARIS / 21Hs00 TUNISIA / 23Hs00 TURKEY & MOSCOW / 04Hs00 BALI
“Melismas” is a piece based on raw field recordings made on location where the landscape radically modulates the sound of the “Azan” singings coming from the mosques of Demre (Anatolia-Turkey). No effects have been used in this piece. Play it loud!
Image: Sajjra Xhrs Galarreta recording the Azan chants and meeting Supay`s spirit in the mountains during the “Melismas” residency in Anatolia. More information about the open call to participate in this residency in the comments. Photo by Margarita Milova and Sajjra Xhrs Galarreta.
Melismas residences & sound-walks series link

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Call for residences and sound-walk series “Melismas”

For the season from 20 June until 20 October 2021

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 initiative 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.

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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
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)

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“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

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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:
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.
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.
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Evamuss contribution in compilation of Martine Ravage Records

“Yurimaguas” by Evamuss

Listen all compilation

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