GIrilal Baars

Discography of GIrilal Baars

Discography

Nature Always Wins

Rinzekete Recordings

Sut-Khol Dream

Sut-Khol Dream is an instrumental song about reaching.
Reaching into the distance, into the future… For the past.
Recorded live with a hurdy-gurdy and four delay lines, 
it is semi-improvised and demi-ambient and fully realised.

Sut-Khol is a lake in the Republic of Tuva in Russia. You can see it in the photograph I took from the summit of a mountain in Kyzyl Taiga in the summer of 2001

Special thanks to Michael Grunditz and Martin Gumucio.

Recorded live on the shore of Lake Ekoln, Uppsala in 2023.

Sut-Khol Dream is an instrumental song about reaching.
Reaching into the distance, into the future… For the past.
Recorded live with a hurdy-gurdy and four delay lines, 
it is semi-improvised and demi-ambient and fully realised.
Sut-Khol is a lake in the Republic of Tuva in Russia. You can see it in the photograph I took from the summit of a mountain in Kyzyl Taiga in the summer of 2001
Special thanks to Michael Grunditz and Martin Gumucio.
Recorded live on the shore of Lake Ekoln, Uppsala in 2023.

Finnegan is Awake and Well

David Bremer

David Bremer and Girilal Baars started scheming their duo a long time ago. But they were finally confronted with reality when commissioned to perform at Twisted Shout, the text-sound festival at Fylkingen in 2022. Joyce’s amazing linguistic whooplas were always part of the plan and judicious text-editing, experimenting and rehearsing later, you can now enjoy Finnegan is Awake and Well over and over in a sound system of your choice. Brought to you sans corporate sponsors, but with deep-felt gratitude to Piak and Daniel Westerlund.

Recorded live at Hökarängens Antikvariat. 

David Bremer and Girilal Baars started scheming their duo a long time ago. But they were finally confronted with reality when commissioned to perform at Twisted Shout, the text-sound festival at Fylkingen in 2022. Joyce’s amazing linguistic whooplas were always part of the plan and judicious text-editing, experimenting and rehearsing later, you can now enjoy Finnegan is Awake and Well over and over in a sound system of your choice. Brought to you sans corporate sponsors, but with deep-felt gratitude to Piak and Daniel Westerlund.
Recorded live at Hökarängens Antikvariat.

Finnegan is Awake and Well by GIrilal Baars, David Bremer

Bokat

Roomet Jakapi

Bokat was recorded in Uppsala, Sweden in December 2023. “Just for fun” turned out to be so enjoyable and so good that we immediately decided this would be an album. Two voices, two handheld mics, two spring reverbs and a lot of chin-scratching later, we are happy to present you with a lot of Bokat.

Bokat was recorded in Uppsala, Sweden in December 2023. “Just for fun” turned out to be so enjoyable and so good that we immediately decided this would be an album. Two voices, two handheld mics, two spring reverbs and a lot of chin-scratching later, we are happy to present you with a lot of Bokat.

Bokat (Original Mix)

M.O.G.A. (Original Mix)

M.O.G.A.

Careful With That Face, Eugene (Original Mix)

Careful With That Face, Eugene by GIrilal Baars, Roomet Jakapi

Careful With That Face, Eugene

Surfing Our Distractions (Original Mix)

Surfing Our Distractions by GIrilal Baars, Roomet Jakapi

Surfing Our Distractions

Sell, Sell, Sell (Original Mix)

Sell, Sell, Sell by GIrilal Baars, Roomet Jakapi

Sell, Sell, Sell

Tourist-Trapped (Original Mix)

Tourist-Trapped by GIrilal Baars, Roomet Jakapi

Tourist-Trapped

Temple Sharks (Original Mix)

Temple Sharks by GIrilal Baars, Roomet Jakapi

Temple Sharks

Blow By Blow (Original Mix)

Blow By Blow by GIrilal Baars, Roomet Jakapi

Blow By Blow

Paracetamol Blues

Bruno Pereira

Paracetamol Blues was recorded in Porto in April 2024. Some years previously, Bruno and Girilal had  collaborated on a couple of public-space performances in Porto. This time they headed straight for the studio and recorded the material for this EP. Two voices, nothing else.

Paracetamol Blues was recorded in Porto in April 2024. Some years previously, Bruno and Girilal had collaborated on a couple of public-space performances in Porto. This time they headed straight for the studio and recorded the material for this EP. Two voices, nothing else.

Paracetamol Blues by GIrilal Baars, Bruno Pereira

Bubble Tee (Original Mix)

Bubble Tee by GIrilal Baars, Bruno Pereira

Bubble Tee

Oh Boy (Original Mix)

Oh Boy

Dodae-Dum (Original Mix)

Dodae-Dum by GIrilal Baars, Bruno Pereira

Dodae-Dum

Enter the Caveman (Original Mix)

Enter the Caveman by GIrilal Baars, Bruno Pereira

Enter the Caveman

Trioxia

Trioxia is a sonic fable in 3D sound of the evolution of human presence in Earth’s orbit. Starting in 1957, we humans have launched thousands upon thousands of objects into space. Trioxia uses actual orbital data and a fair share of the close to 5000 sounds in this piece are from recordings of various satellites and space missions. The compositional process involved creating the thousands of unique sounds using a mix of recordings of satellites and orbital broadcasts (from the private collection of the Swedish space researcher and radio amateur Sven Grahn) along with sound design using analogue sources ranging from camera shutters and miscellaneous noises, to pinging resonance filters and feedback.

Since the launch of Sputnik in 1957 space has mirrored large-scale political and social developments on Earth. At first, space was an arena to demonstrate power during the Cold War, with heavy investments by both the US and Soviet sides. In time, this led on to the commercial era – providing the means for radio and television broadcasts and overseas calls. Today space is a highly integrated part of society - satellites are at the heart of navigation, communications, cosmology, weather forecasts, monitoring of global climate, and so much more. But as the number of assets in orbit grows, so do the risks! For many space agencies, ensuring that collisions and space debris do not pollute near-Earth space environment, potentially crippling access to space completely, has become the highest priority.
      I made Trioxia to serve as an aural illustration of the ceaseless activity right above our heads. It is both as a tribute to our collective ingenuity and industry, as well as a heads-up on the potential for a cascading disaster that is accruing in orbit right above our heads.

Trioxia is a sonic fable in 3D sound of the evolution of human presence in Earth’s orbit. Starting in 1957, we humans have launched thousands upon thousands of objects into space. Trioxia uses actual orbital data and a fair share of the close to 5000 sounds in this piece are from recordings of various satellites and space missions. The compositional process involved creating the thousands of unique sounds using a mix of recordings of satellites and orbital broadcasts (from the private collection of the Swedish space researcher and radio amateur Sven Grahn) along with sound design using analogue sources ranging from camera shutters and miscellaneous noises, to pinging resonance filters and feedback.
Since the launch of Sputnik in 1957 space has mirrored large-scale political and social developments on Earth. At first, space was an arena to demonstrate power during the Cold War, with heavy investments by both the US and Soviet sides. In time, this led on to the commercial era – providing the means for radio and television broadcasts and overseas calls. Today space is a highly integrated part of society - satellites are at the heart of navigation, communications, cosmology, weather forecasts, monitoring of global climate, and so much more. But as the number of assets in orbit grows, so do the risks! For many space agencies, ensuring that collisions and space debris do not pollute near-Earth space environment, potentially crippling access to space completely, has become the highest priority.
 I made Trioxia to serve as an aural illustration of the ceaseless activity right above our heads. It is both as a tribute to our collective ingenuity and industry, as well as a heads-up on the potential for a cascading disaster that is accruing in orbit right above our heads.

Trioxia ((Binaural))

Body Unsung

Body Unsung is a triptych of tracks with the same strict approach: using only Girilal Baars's voice and granulation-free processing of the live voice. No pre-recorded samples, backing tracks or presets were used, nor were any electrons harmed in the process.

White, Belyj, Hvit mixes excerpts from a poem by Nadezhda Lvova and lyrics by Girilal Baars. The Russian poet Nadezda Lvova (1891-1913) shot herself in her heart with a pistol when her older and married lover distanced himself from her. The song is a rumination on power and privilege, on innocence and guilt.


Бог 20-го века - 20th Century God - is a poem by the Futurist poet Velimir Khlebnikov (1885-1922) in which he is exploring the rise and coming rule of the young century’s new deity – electricity. The doomsday aesthetics and the incantation-like rendering of the text are inspired by the poem and it's imageries of the accelerating urbanization and industrialization of turn-of-the-last-century Russia.

The Bonnie Banks o Fordie is based on the eponymous Scottish ballad (Child 14). It tells of a robber who assaults three sisters, threatening to kill them unless they marry him. Dispatching the first two sisters after their refusals, the third sister confronts him and they discover that he is actually the long-lost brother. Guilt overwhelms the robber and he kills himself.

Body Unsung is a triptych of tracks with the same strict approach: using only Girilal Baars's voice and granulation-free processing of the live voice. No pre-recorded samples, backing tracks or presets were used, nor were any electrons harmed in the process.
White, Belyj, Hvit mixes excerpts from a poem by Nadezhda Lvova and lyrics by Girilal Baars. The Russian poet Nadezda Lvova (1891-1913) shot herself in her heart with a pistol when her older and married lover distanced himself from her. The song is a rumination on power and privilege, on innocence and guilt.
Бог 20-го века - 20th Century God - is a poem by the Futurist poet Velimir Khlebnikov (1885-1922) in which he is exploring the rise and coming rule of the young century’s new deity – electricity. The doomsday aesthetics and the incantation-like rendering of the text are inspired by the poem and it's imageries of the accelerating urbanization and industrialization of turn-of-the-last-century Russia.
The Bonnie Banks o Fordie is based on the eponymous Scottish ballad (Child 14). It tells of a robber who assaults three sisters, threatening to kill them unless they marry him. Dispatching the first two sisters after their refusals, the third sister confronts him and they discover that he is actually the long-lost brother. Guilt overwhelms the robber and he kills himself.

GIrilal BaarsUppsala, Sweden

GIrilal Baars
Uppsala, Sweden