Ernesto Diaz-Infante, Manuel Mota, Gino Robair & Ernesto Rodrigues | Our Faceless Empire

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Ernesto Diaz-Infante Ernesto Rodrigues Gino Robair Manuel Mota

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Avant Garde: Free Improvisation Avant Garde: Electro-Acoustic Moods: Type: Experimental
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Our Faceless Empire

by Ernesto Diaz-Infante, Manuel Mota, Gino Robair & Ernesto Rodrigues

"Natural, spontaneous music, filled with mystery, angular, exploratory and intense: just like we dreamed it." --Eduardo Chagas, Jazz a Arredores
Genre: Avant Garde: Free Improvisation
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  Song Share Time Download
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1. Nosso Rosto Empire
4:59 $0.99
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2. Luftzucker
3:55 $0.99
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3. Mi Conde, el odiosas
4:35 $0.99
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4. O, Bursty Bruegel
6:17 $0.99
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5. Intervalos de confianza
9:31 $0.99
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6. Vida de lujo
5:50 $0.99
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7. Emético Labilty
4:57 $0.99
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8. Um Lilburn em Flovilla
4:01 $0.99
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9. A Cartesian Blaspheme
5:39 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Ernesto Diaz-Infante: steel-string acoustic guitar
Manuel Mota: electric guitar
Gino Robair: energized surfaces/voltage made audible
Ernesto Rodrigues: viola

All compositions by Ernesto Diaz-Infante, Manuel Mota, Gino Robair, and Ernesto Rodrigues
Recorded and engineered by Scott R. Looney, 1510 Studio, Oakland, California USA, February 19, 2006.
Edited, mixed and mastered by Gino Robair
CD art & design by Jeff Petersen

Gravado em Oakland, Califórnia, durante a digressão que Ernesto Rodrigues e Manuel Mota empreenderam em 2006, desde Vancouver, no Canadá, até Long Beach, ao Sul da Califórnia, com passagem por Seattle e S. Francisco, o encontro entre o violinista e o guitarrista portugueses e os improvisadores californianos Gino Robair (percussão) e Ernesto Diaz-Infante (guitarra acústica), relança o debate sempre em aberto sobre as diferentes formas de expressão musical relacionadas com a actividade improvisadora/composição instantânea. Formas de comunicação que põem em evidência um gosto partilhado pelo trabalho sobre a parte mais delicada do mundo dos sons. Os elementos escolhidos, cordas acústicas e eléctricas e percussão variada, interagem de modo a criar uma preparação fascinante e encantatória ao nível das possibilidades e combinações tímbricas e texturais dos instrumentos, no modo dúctil como as vozes se interpenetram e tiram partido do espectro dinâmico alargado, que vai dos intervalos de silêncio à ressonância e à minuciosa e delicada actividade em baixo volume, aspectos acentuados pela nitidez da gravação, resultado de uma microfonagem competente e assertiva. O mais interessante é acompanhar o desenvolvimento de uma linguagem colectiva que vive da inspiração do momento e a assinalável capacidade de reacção em tempo real aos estímulos uns dos outros. Momentos há em que se sente a aproximação ao reducionismo/“near silence”, outros à electroacústica experimental e ainda às escolas europeias de improvisação livre. Mas, mais frequentemente, o que se ouve é um composto orgânico cozinhado em lume brando, confeccionado a partir de diversas formas e técnicas da livre expressão musical contemporânea, que no seu conjunto primam pela riqueza de colorido, apurado sentido de colectivo e por um surpreendente movimento cinético entre a serenidade e a inquietação. Música espontânea e natural, carregada de mistério, angular, exploratória e intensa como se deseja.

Eduardo Chagas


Recorded in Oakland, California in 2006, during a long journey that took violinist Ernesto Rodrigues and guitarist Manuel Mota from Vancouver, Canada to Long Beach, Southern California, with stops in Seattle and San Francisco, this encounter between two Portuguese musicians and Californian improvisers Gino Robair (energized surfaces/voltage made audible) and Ernesto Diaz-Infante (acoustic guitar), invigorates the open debate over the different forms of musical expression related to improvisation/instant composition. These forms of communication evidence a particular interest in exploring the most delicate aspect of the sound world. The chosen elements –acoustic and electric strings as well as various electronics/percussions– interact to work out a fascinating, enchanting angle regarding timbric and textural possibilities and instrumental combinations. The voices interweave with ductility and take advantage of the broadened dynamic spectrum, which goes from intervals of silence to the resonance of a meticulous yet delicate low volume activity, and these aspects are accentuated by the clarity of the recording, which was a result of a competent and assertive placement of microphones. Yet the most interesting aspect is perhaps to witness the development of a collective language, nurtured by the spontaneous inspiration and a remarkable ability to react in real time to the stimulus of the other ensemble members. There are some moments that sound close to the reductionist/”near silence” approach, others to electroacoustic experimentation and some even to the European schools of free improvisation. However, what is mostly heard throughout the recording is an organic compound boiled on a low flame, made up with the different forms and techniques of the contemporary free musical expression, and it privileges as a whole the richness of color, a purified sense of collectiveness and a surprising kinetic motion between serenity and restlessness. Natural, spontaneous music, filled with mystery, angular, exploratory and intense: just like we dreamed it.

Eduardo Chagas

Portuguese to English Translation: Gerardo Alejos
gerardoalejos@hotmail.com

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