les cuento q los últimos discos y joyas metamusicales publicadas por nuestro compañero de vuelo Christian Galarreta han sido reseñados en el último número de la destacada web holandesa VITAL WEEKLY por el mismo Frans de Waard
A seguir y sin más bla bla bla la amplia reseña para vuestro deleite and amusement....
CHRS GALARRETA/ANTON MOBIN - ABANDON DEBIT (CD by Felt Collective)
CHRS GALARRETA & JANNEKE VAN DER PUTTEN - INVISIBLE ARCHITECTURE (LP by Aloardi)
SAJJRA (CDR by Aloeardi)
These three releases were to send to me from The Netherlands, where Chrs (which stands for Christian) Galarreta lives, sometimes residing in Paris. He hails from Peru and works with "broken electrical appliances, homemade audio-visual instruments, field streamings, field recordings, feedback systems, the induction of errors in the software-hardware and in the way to play musical instruments" and he has a lot of projects such as "Sajjra (current solo harsh-pop project), DiosMeHaViolado (soloist project sometimes in collaboration with Claudia Machuca, Fabian Escalante, Yuri Gutierrez and Aldo Castillejos), Evamuss (as soloist), Azucena Kantrix (with Wilder Gonzales), Tica (with Fabiola Vasquez), Garrapata (with Gabriel Castillo and Rolando Apolo), Ninguna Ninfula (with Sabrina Melenotte), Miasma (with Sergio Sanchez), 50 Otages (with Mathiu Finisterre, Bernard Bruit and Julien Otavi) among others" (quoting from websites here, as you may have guessed). He's also involved in a lot of more art related projects, sound walks and such like. From the three releases I started with the Sajjra one, for no particular reason, other than perhaps wrongly assuming a solo project might be the best way to start? Or perhaps it's more a false start? Pop is a word that often mis-used, I think. A bit of rhythm, some guitars, keyboards and vocals may sound pop-like, but it's perhaps not really pop-music yet. That seems to be the case on the release as Sajjra. You can hear Galarreta plays with the notion of pop, but these seven pieces are not structured like a pop song, yet. It has all the ingredients for sure, but the loose structure of the pieces sees him toying around with ideas and not thinking about those great pop songs they could be. But for all I know this could entirely be the intention of Galarreta? It surely has a dark feeling to it, which might appeal those who like angst-pop and beyond. I didn't think this was bad music, far from it; I played it with great interest and enjoyed it quite a bit. The Dutch weather is grey and it drizzles all day, so it needs a soundtrack like this. Not something I would easily play a lot.
I then moved to what turned out to be a split CD by Galarreta and Anton Mobin. Both of them worked in January on their respective pieces, and here we find Galarreta in a noisier mood. Maybe also justifies the description he gives of his own work, using broken electrical appliances and errors in software-hardware. Or perhaps it's just the workings on any lo-fi to work with: Dictaphones, walkmans, contact microphones. This is more like it: an endless stream of lo-fi noise sounds streaming towards the listener. Galarreta moves around from very loud passages to more subtle leanings on his beloved antiques cassette machines, all along picking up signals from electrical currents, solar flares or highly amplified mechanics of his device. That may account for the faults in his hardware. A bit long at twenty-five minutes perhaps, but quite nice all the same. Anton Mobin from France works along similar lines; maybe a shared love for lo-fi mechanics is what brought these two together, and Mobin's piece has the same sort of dynamics between the high and low range, acoustic sounds dropping in and all sorts of buzz, sparkle and hiss that such things come with. Maybe perhaps a bit less of the broken software, perhaps? Two great pieces of vivid, imaginative noise music.
The final release by Chrs Galarreta for today is one he composed together with Dutch sound artist Janneke van der Putten, which can be played at 33 or 45 rpm, whatever you want (great!) and it deals with the human voice and the space it sounds in. It's all about reflections the voice can have in a space and how it differs from another space. We all have, probably, the same urge to hum in an empty space, a tunnel or underpass. Here Van der Putten uses her voice and Galarreta is responsible for the composition and microphone techniques; it's not clear if the voice is played in real-time or perhaps the result of play back through a previous recording. Or maybe it's all being picked up in one space - a light tower we read on the cover - and picked up with several microphones placed on various points - near and far away - in this space. Whatever it may be, it sounds great. It sounds like a multi-layered voice piece, humming away and maybe has an ethereal feeling to it, like some religious chant, but the more I heard this, the less I thought this was the case. It has a great, refined drone quality with a tranquil atmosphere, and that hoovers perhaps closely to the world of new age, but it's not. It's probably too dark for that. This is one of those records you should get two copies of and play them together, slowly altering the speed and make an even bigger choir. Of the three this was the one that most appealed to me. (FdW)