Cinnamon Good For Thyroid

Interview with Christian Galarreta by Jorge Gutierrez

(e (hrs) bility - Tribute to the ephemeral
31/05/2010 Mexico City - Fabian Strings)

Jorge Gutierrez Tijuana scene known for his work with Claudia Morfin, had the opportunity to interview Christian Galarreta just before he left for Europe last year. Jorge has generously decided to share this interview with horrible noise, so without further ado, here is with you. We thank George and Chris for the interview and Fabian Cardenas Melenotte Sabrina and the photographs that have served to illustrate it. Interview

Christian Galarreta (Peru)

Known as a leader laptopero stochastic offender for Christian Galarreta sound creation is a form of disobedience and social change. Sound Explorer

craftsman noise / silence and one of the composers of contemporary music from Latin America more risky, might be only a handful of cloud too complicated for a person like Christian Galarreta (Peru, 1976), for whom the only important is the power to create and live music all the time gone in that the outside without touching it. As a result of that search and since 1995 the Peruvian is responsible for billing more than 50 productions on record labels from around the world, either in collaboration with other artists, as well as solo. Galarreta is known for starring in Lima experimental scene since the nineties to date with three of their most important God has violated; Evamuss, and Tica, among others. He is the founder of independent label Aloardi, a multidisciplinary community of artists dedicated to promoting sound research and technological culture. Currently engaged in the exploration of self-regulatory systems interfaces and thus shaping abyss of noise and silence through the use of malfunctioning equipment, home-made instruments sound and controlled induction of error in the software.
After a residence in Mexico City, awarded for winning the 2008 award for his sound installation Amarus, along with 33 jobs as part of the first contest in Latin America Artistic Homes, we take for an interview before his departure for the old continent. Jorge Gutierrez

: How did you discover your personal language was in the sound, in music? Christian Galarreta

: First, long before making music, and was experiencing more than anything else with my life. From my youth was always searching as an attitude toward life. There was always a very strong search for something, I do not know why but I think it was just the search itself, either from some aspect of creativity or the self-destruction as a total experience. Thus I found the sound a great retreat at the time.

JG: Two of your previous projects most representative and God has violated Evamuss, since the nineties were a consequence of this search we talking about? What makes them different from each other?

CG: Actually, the names projects do not matter, they are all the same, are mere words. One is growing and evolving. As God has violated, the name chose a friend to see a phrase I wrote on the walls of a room that we called The Dream Factory. It was a room whose walls looked create atmospheres that I also look for the sound, a very airy, with walls painted in pink ink, like walking on clouds, another state of consciousness. Lo Evamuss followed. There were many problems at that time, I wanted to do a band with my God-raped but it was impossible not only for economics, was the problem of instruments, there were also to find people, meet to rehearse, enter a recording studio, etc.. Soon after, in the pursuit of power capture it all and with the few resources they had is being born Evamuss. He used to say back then I was like a caterpillar, a chrysalis that once had the chance to experience the more I become a butterfly. There was a process between these two projects, a metamorphosis, but in the end the sound and the search was being the same.

JG: How do you explain the process of development in Evamuss sound through its six productions?

CG: As I know people who valued music I was creating at the time of Evamuss, I also would encourage more to publish. For it was there that came in contact with Peter Rehberg (head of the Austrian label Mego experimental electronic music). We began to exchange tracks, the leg gave me great courage and I know how risky it was his hallmark. That's how I found myself doing many things in that line but for some strange reason, had encouraged me to publish. Although disk-Koita Noika (1999) is a breakthrough with respect to E. Muss (1998), the way they work is still very early, all you hear is recorded live there, I rehearsed and rehearsed until remaining, then put me to burn. At least until the noise Gates (2000) of everything you hear nothing is sequenced. I was my own sequencer, creating something like moments and pieces of sound.

JG: I notice a very special sound proposal Noika Koita disk, I even heard comments and comparisons with something that goes beyond what was Experitental Autechre and Audio Research (EAR) in some time. Which means you played back then, what team were producing your music?

CG: casiotone was a toy, a few DOD pedals (of course very bad but to me served very well), a flanger, a chorus, and distortion. These pedals were connected to tecladito. The idea was to make sounds like synths and that it was impossible to buy a synthesizer, so that way I was putting my own synthe filters or effects. I also built some amps and some potentiometers to vary certain dynamics.

JG: And at what point the transition between Evamuss arises and that you are doing today and your first name, as Christian Galarreta bone?

CG: The word was like thinking Evamuss sound. At that time all the titles he invented were as sound pieces. I liked to do as poetry, to utter words that will not get you anywhere. Then Evamuss went well, the name represents what is perceived in the sound of the project. But there came a moment when I realized that I was locking Evamuss something, in certain patterns that I was bored, was ignoring the risk. I decided to surrender to the experimentation of sound itself to explore the credentials of noise to create songs. I threw myself at it and changed the name, was more practical, in the end the idea was to avoid pigeonholing the sound. The name of the project is just to put myself in a specific time. For me, music God is the same for me and Evamuss violated. Christian Galarreta In all my projects are reunited. I feel that everything is happening there at the same time.

JG: Is the sound installation and field-recording is also another language in your work, another approach to the sound?

CG: It's part of the same. I've been doing for a long time, only that it did not have recorders. Since I had a mini-disc in my hands and started to hear things around us, I jumped to record. For example, to drive E. Muss, of Evamuss, I went to the park to listen to the cuckoos. I did much the sound of the birds that Lima evening do as an atmosphere, a special textured loop, but imagine some of these layered one above the other, you create an interesting situation there. In the first track on the disc is E. Muss sounds like that, then I guess if I had had a tape he had recorded there. Only that, now I'm using ethereal guitars because I've been able to get hold of an effect that could not previously buy. I think the key is to get something and then how the plasma and, as you can, with what you have on hand. The circumstances and how they're going to set the pace.

JG: How much have you influenced lives in Mexico City? What role does the City of yourself as creative individual?

CG: Unlike the city where I come from, here you can access certain facilities for making music. Something very important to me is the chaos in this city. The level of self you can have in the City is important. The fact poderte escape the control of cultural institutions and use it for your purposes is great. Sky City also really liked me, the rain, their relationship with nature despite being a city so screwed. Mexico City has a special energy. There is also the relationship I've been doing many people here, for example with the people of Horrible Noise collective as well as Rogelio Sosa Radar Festival and Hector Flores who work from the institutional side.


was also a good thing get away from Lima, being away and give up certain comforts gave me much courage to make that distance in a more creative Lima because now it becomes more present than ever, but not in a form of nostalgia, but as a kind of abstraction becomes real sounds, looking much the sea in the sounds I make, I miss him very much but I know I can make my own ocean here locked in my cave.

JG: When you are composing music, where are you located spiritually, mentally and physically? What do you think when you build, what generates your creativity?

CG: I think that everything is physical, in the physical context of sound. It is put in check and our perception of reality through it. In my opinion everything else and any subsequent conclusion derived from this relationship that feeds.

JG: What are the discs that have influenced you?

CG: It's a question difficult. Definitely My Bloody Valentine, Loveless but not only, there is the Is not Anything and all their Ep's. There is a total revelation. I had it on cassette and played it in a very bad writer, then I do not know if it sounded like it was out of the cassette or otherwise. Is a band that made me think of my present state with regard to the sound. Earlier in my teens, was the Appetitte for Destruction by Guns n 'Roses. Yet I still like this album much. I liked his attitude and some strength in his music, but now they have become fools. Lately I've been hearing a lot of the Ghost Parastasie of Aidan Baker (Nadja guitarist) & Tim Hecker, this disc is incredible. Two albums that blew me something at one time were the Bloweyelashwish of Soccour Loveliescrushing and Seefeel. On the other hand there is the chicha (cumbia peruana) and huayno (traditional Andean music), although it is music that I hear quite often is something that I always come back because I grew up surrounded by these sounds. Even near my house always had great gigs and I came huayno the Andean air, but those harmonies as reverb, this caused me some psychedelic effects as a child. I thought the sound as an entity, as someone who flew a alebrije or an imaginary being invited me to another world. In fact I have remixed Andean harp on my records, heavily influenced by the sounds.
I think that might answer this question, citing people, groups or projects, in this case would have to mention: Fiorella16 and Jab Lemur, who released an album together called "Atomic" in 2008, I appreciate the work they do them individually as well. The work of organization that is making its festival Marco Valdivia ASIMTRIA in Arequipa, like that done in Rancagua (Chile) Sebastian Ortiz and Friends of the noise pollution. The bands self-managed platforms that move in Mexico Antonio flatly (Drill, Genital Records, The Role of Repulse) and Sergio Sánchez (Horrible Noise, The Black Heralds, Amniosis). I admire algorithmic composition Pelucho Luis Enriquez Ecuador, I heard it live twice and they were very interesting textures, structures and levels of interaction ... just drove there that made the eye / ear to the music scene independent experimental Ecuador. There is so much that you find on the Internet at first glance. It has long admired the work of groups like APO33 (France) and the individual work of former and present members of Aloardi as Gabriel Castillo, Felipe del Aguila, Alejandro Perez, Pastor Dennis. Besides the influence it has exerted in me the attitude of people as special as Fabiola Vasquez Walter Peña, Wilder Gonzales and now Sabrina Melenotte last. Special mention deserves the move of Underground Rock 80's, Sylvania and Independent Hip Hop scene in Peru.

JG: In terms of literature. What books have you read that you've marked?

CG: I've read enough German philosophy, I like Nietzsche and Horderlin specifically. Right now I'm stuck with Blanca Varela and Eielson. It has been a rediscovery because I already knew but had not appreciated before. Blanca Varela is a Peruvian writer very brave to face this thing before us when we are alone with the reality and writes without much sentimentality, Invert cake you puts you, your work is very posh.

JG: What is your opinion on the new generation of musicians and artists who are doing things in Peru today?

CG: In regard to experimental or related music is very interesting things, like what makes a band called Puna. Also Fabiola Vazquez, who formed the project of etheral-noise-pop: Tica. She is currently doing a project with a member of Puna. In them a search for a unique sound, a mix of old influences but directed toward something else. Also, some of which were part Sonic the Chrysalis group, are now making more radical things as Wilder Gonzalez, who consistently produces and disseminates what happens in the Peruvian underground or what he did with his project Daniel Caballero Paruro. Intermittent projects displayed in the province as Fiorella16 or fractal Ragholetis Arequipa. Experiments in computer music and interactive interfaces Jaime Oliver. Also among the gangs that are moving Buh Records you can find some good stuff. There are many people active in Peru, new people with fresh language and Jab Lemur or Pastor Dennis. I think there is generally an attitude toward risk, and there's not much to lose in reality you do as you can, with what you have and the final risk more because it is not premeditated, that's how I was born. No goals or commitments or other commercial interests that go beyond the do / be.

JG: What is your opinion on this new boom or growing interest in "sound art", the ruidismo or experimental music?

CG: In a way I guess that works to the extent that serves to promote the work of some people who are dedicated to it and if it also serves to feed us, then even better. I think to label our work as an "art" seems very small discriminator and castrating. To me this is not just aesthetic, the "good taste" or to praise the "human spirit." For me this relationship I have with sound is a way of life, a way to take everyday life and to avoid certain atavism that we have created human beings or that we are inculcated from childhood through language, education, media, entertainment, ethics, architecture, music and more.

JG: What are your future plans?

CG: I'm currently trying to finish some drives that I will publish in collaboration with other artists. I hope also make presentations and some installations in Europe to give me some economic stability to continue doing my thing. Now I'm working on new tracks for Tica (duet with Fabiola Vasquez of Peru), in music of Miasma (band of noise-doom that formed in Mexico City with Amniosis people) and I am producing the EP No nymphet (duo Sabrina Melenotte France) project that also hope to give some concerts soon in Paris. Actually I'd rather not make many plans, that never quite work for me.