our faceless empire | PAX PR90289

OOur Faceless Empire (Pax 90289; USA) Ernesto Diaz-Infante on acoustic guitar, Manuel Mota on elecric guitar, Gino Robair on energized surfaces made audible and Ernesto Rodrigues on viola. This is a unique quartet with two musicians from Portugal: Manuel Mota & Ernesto Rodrigues and two from California: Gino Robair (Oakland) and Ernesto Diaz-Infante. Each one of these musicians come from different backgrounds and each has worked for or organized their own labels. Gino Robair runs Rastascan, Ernesto Rodrigues runs Creative Sources, Manel Mota used to run Headlights while Mr. Diaz-Infante is involved with this, the Pax Recordings label.
Is Pax Recordings the West Coast version of Erstwhile? A good question to ponder while we check out this lower-case improvised treasure. What are "energized surfaces made audible"? Another good question. Subtle feedback, delicate guitar extrapolations, softly amplified rubbed objects and minimal percussives are what we hear on this disc. Restrained yet busy rumbling, extremely careful improvised madness and layers with layers. Each piece seems to get more dense and/or frantic as this disc evolves, yet there are also moments of sift reflection. If I hadn't been reviewing and enjoying the Erstwhile catalogue all along, I probably wouldn't have appreciated this disc so much. Patience is a virtue when reviewing any and all challenging musics and it is necessary while contemplating what is unique about this shrewd unassuming gem. The layman might think that anyone could do this, but he or they would be so wrong. There is much more than meets the ear or eye than you might imagine going on. Only time will tell. Bruce Lee Gallanter (Downtown Music Gallery)

The meeting of four skilled improvising musicians—two from Lisbon, Portugal, and two from San Francisco—is cause for celebration on these nine ephemeral pieces. Surprisingly, Our Faceless Empire is not a live date; instead, it was made in an Oakland, California studio in 2006. By the very nature of this session, an audience—or any outside noise or distraction—might take away from the overall aura of its sounds.
The meeting emphasizes both the acoustic and the electric. Portuguese players Ernesto Rodrigues (viola) and Manuel Mota (electric guitar) join Californians Ernesto Diaz-Infante (steel-string acoustic guitar) and Gino Robair's electrified surfaces and voltage experiments.
The tracks accentuate the quartet's interplay, shying away from the all too common use of tension-and-release and, instead, relying more on a calming equanimity of texture, and sometimes making sound for sound's sake. The players tend to pulse, allow for energies to cycle through and opt for responding to each others' thoughts.
With sounds are almost more visual than aural, Our Faceless Empire sparks the imagination by conjuring forms, colors and perceptions of touch rather than sound. Perhaps it is the energy fields created by the intersection of the acoustic and electric—or, maybe, the Portuguese and the North Americans. Mark Corroto (All About Jazz)

I've had many occasions to improvise (both live & in studio) with Mr. Diaz-Infante, so I can surely appreciate what I'm hearing on this grand excursion into the depths of moment! If you're a "pure jazzhead", with no room for adventure in your heart (or your ears), you'll probably pass on this CD, but that's not a good way to hear what's REALLY happening in the 21st Century. These folks are masters at the sonic arts, extracting sounds from the ether that are then gently formed into artistic protest (of a sort), albeit with clear recording (Scott Looney did the initial recording, then Gino edited, mixed and mastered it) seldom found on such albums. What they are doing will be exceedingly pleasing to those of you who understand that music doesn't have to be "of a certain pattern" to have that element of discovery that's so sorely needed in these times of empirical idiocy and (perhaps) biblical significance. The key to total enjoyment of O.F.E. is (just as I know the players are doing) allowing yourself to become totally absorbed in what they are creating for you... for starters, make sure you are wearing headphones, turn that durned cellphone & computer OFF, & settle back with your favorite brew... this is sonically epic, and merits your full attention. My personal favorite was the richly dense "Um Lilburn Em Flovilla" for it's gently haunting aura of electronical alchemy... you, of course, will find your own favored composition. This comes MOST HIGHLY RECOMMENDED, with an "EQ" (energy quotient) rating of 4.99 (very near the top)... it also gets my "PICK" of this issue for "best improvised mystery". Get more information at www.paxrecordings.com. Dick Metcalf ( Rotcod Zzaj)

Bei einer transatlantischen Exkursion 2006 begegneten zwei Portugiesen zwei Gesinnungsgenossen in Oakland. Mota und Diaz-Infante bekrabbeln elektrische bzw. akustische Gitarren, Rodrigues quietschfiedelt und Robair hantiert fragil-perkussiv, wenn auch verstärkt. So entstand, nicht dass es mich überraschen würde, ein meist eifriges und quickes Pollocking aus Klangbröseln und Geräuschfitzeln. Die Erwartung, gemeinsame Vorlieben für mikrobruitistische Improvisation ohne große Vorbereitung miteinander teilen zu können, wurde nicht enttäuscht. Selbst über ganz reduktionistische Momente, in denen man die sprichwörtliche Stecknadel fallen oder ‚Luftzucker‘ rieseln hören kann, wenn Saiten übervorsichtig gepickt und bezirpt werden und Robair Schwingungen wie mit der Pinzette aus der Luft pflückt, bestand intuitiv Einigkeit. Dass auf kleiner Flamme dann doch nur laue Wässerchen aufgewärmt werden, liegt allein an meiner Rolle in der Schizophrenie zwischen aktiv und passiv. Die Spieler erleben die Kommunikation als traumhaft schön und beglückend. Mich drückt dabei nur die Kirchenbank in dieser Church of Musica Absconditus. Rigobert Dittmann (Bad Alchemy)

Det är något speciellt med stränginstrument i improviserad musik som jag alltid lockas av utan att egentligen kunna peka på några specifika orsaker varför. Ljudet av strängarna och den perkussiva resonansen, ett slags snavande, knäppande och rutschande som tycks börja och sluta på samma gång – allt detta trängs samman i min föreställning av det som möjligen skulle kunna vara ljudens ”fibrer”, dess minsta möjliga resonanta trådar.
Strängar är också linjer och den improviserade gitarrmusiken sedan Derek Baileys dagar gör sitt bästa för att bryta dess linjer utan att det blir till runda tonala former. Ur ett estetiskt perspektiv blir strängarna snarare till taggtrådar och ackordens perfekta fingersättningar till ledbrutet och ojämnt krafsande. Det blir vackert på sitt ickevackra sätt.
Skivan Our Faceless Empire är en femtio minuter lång djupdykning i musikalisk strängteori med bidrag av Gino Robairs alltid märkliga surface/voltage-mix av elektroniska och akustiska ljud. Förutom Robair består kvartetten av Ernesto Diaz-Infante på stålsträngad akustisk gitarr, Manuel Mota på elgitarr och Ernest Rodrigues på viola. Kalifornien möter Portugal med andra ord. Det jag gillar med denna skiva är det smått oroliga lugnet, en dynamik i spelet som aldrig hänger sig helt åt larm eller slammer utan vilar i ljuden på ett mycket perceptivt sätt. Ibland kan det stanna till lite för länge vid feedback eller gnissla kraftigt, så som i spåret ”A Cartesian Blaspheme”, men de är hela tiden uppmärksamma på i vilken riktning musiken utvecklar sig.
Elektronik och strängar visar sig vara ett utmärkt par. I spåren ”O, Bursty Bruegel” och ”Um Lilburn Em Flovilla” tycker jag mycket av kvartettens musikaliska tänkande faller på plats, det vill säga huller om buller fast med tystnaden som huvudresurs. Det blir allt glesare mellan ljuden och det rumsliga i musiken växer. Andra spår bjuder på ett mer laddat tempo, som ”E Mético Lability”. Detta är skivans starkaste spår: strängar, stråkar och slagverk når varandra i en taggig barrskog av spinkiga ljud där också kortvariga melodiska fragment tillåts.
I sin helhet är Our Faceless Empire övertygande, även om den kanske inte just är nyskapande. Kvartetten vinner på att hålla tillbaka explosionen, att lita på ett ”väntande lyssnande” och möta varandra i en akustisk underjord snarare än på slagfältet. John Redin (Sound of Music)

It has been a long time since I last reviewed a release of Pax Recordings. So it is a good thing to see they are still in business, as is Ernesto-Diaz Infante who is featured on many of their releases. Recordings for this release came about in 2006 when Rodrigues and Mota - both from Portugal - where traveling the US. ŒOur Faceless Empire‚ documents their meeting with two musicians from California: Diaz-Infante and Robair. It all happened on february 19, in the 1510 Studio in Oakland with Scott R. Looney doing the recording. The line up is as follows: Ernesto Diaz-Infante (steel-string acoustic guitar), Manuel Mota (electric guitar), Gino Robair ( energized surfaces/voltage made audible) and Ernesto Rodrigues (viola). From, what I know from the work by Diaz-Infante this collaboration has a logic. This are improvisations in the style we know well from the Portuguese Creative Sources label, where textures, timbre and concrete sounds make up the aspects they work with. One could call this music highly abstract, in the sense of abstracted from melody, harmony, rhythm, etc. But at the same it is also very concrete, as it deals with concrete sounds and colors. The music is not very dramatic but if you really go into it, it is a very engaging and rewarding experience. With concentrated listening you will surely enjoy all all the movements, short runs and twists, and the interaction between the musicians. It is very delicate music, full of nuance and little motives. Pointillistic, if that makes sense. Dolf Mulder (Vital Weekly)

I haven't heard any recording with Ernesto Sturm Diaz Infante since a few years what made me welcome the cd with great pleasure. Aan in addition there's a fine line up of Manuel Mota (electric guitar), Gino Robair ( energized surfaces/voltage made audible) and Ernesto Rodrigues (viola) which is great.
It's a document of two different passages in improvised music - both represneted by european and american artists which certainly have different styles but complement each other greatly.
I guess with all the collaborations and mostly with collaborations of 3 or more people at the same time here's a need for certain type of composition and logic in it which this recording bears. As with all the Creative Sources recordings we have plenty of action: sudden twists, sizzling sonorous explorations and more free-improv style which is Sturm Diaz Infante's style - a string metal machine mechanics - style that cannot be mistaken.
There's a certain influence of concrete music what is great add - the structure is very delicate and abstract and concrete sounds are always a sort a danger in such context - might be too strong and harsh - an oxymoron.
The pieces are sure shot to enjoy - they are not too exaggerated, and most of all there's plenty of subtleness and delicacy which for me is the greatest asset - communication between musicians is just bloming. More from Pax recordings!!! Hubert Napiorski (Felthat)

When someone is listed as playing "voltage made audible," there's very little doubt as to the sounds on the album. Diaz-Infante and friends manipulate twiddles and squarks into lively conversations. Maybe not the sorts of things you say when tossing down a brew or two, but certainly something worth comprehending. Or attempting to comprehend, anyway. (A&A)

Musique bruitiste dans la confusion de Babel, quand la différence n'est pas venue au jour et que l'entente est immédiate. Ces quatre là s'offrent le luxe, et surtout nous l'offrent, d'atteindre ça sans le moindre sentiment de retour en arrière. Autrement dit, c'est encore en avant de nous et les différences à quoi nous nous accrochons n'ont guère de sens.
Je ne prétend pas que cette manière de lire leur musique soit celle d'un seul membre du quartet, formé pendant une tournée des deux portugais aux Etats-Unis. Mais assurément la notion même de différence ou de confusion perd tout sens dans la musique qui leur est venue sous le pied. L'alliance des trois cordes et des "surfaces /voltage rendu audible" de Robair rend parlant le silence. Les rencontres semblent se faire comme par hasard, par le collage de bandes séparées, chacun rendu à sa solitude, à ses silences et à ses paroles par moment, et ce qui n'est pas dit/pas joué prend autant d'importance que l'audible. Dans quelques sons s'entend un orchestre entier, une musique toute écrite. Ce que ce qui se joue là n'est pas le produit de la rencontre d'individus communicants mais le croisement de partitions et de coups de ciseaux sous forme d'humains déambulants. Grand disque. Noel Tachet (Improjazz)

Deux émissaires portugais (Ernesto Rodrigues au violon et Manuel Mota à la guitare électrique) sur la Côte Ouest américaine – plus précisément à Oakland où les attendaient Gino Robair (« Energized Surfaces ») et Ernesto Diaz-Infante (guitare acoustique) – provoquèrent Our Faceless Empire.
Au départ : Gino Robair agit en discret dans les cordes : un théâtre miniature se met alors en place, dont les personnages se disputent et dont les choses qui composent le décor ont aussi leurs sons à dire. Tous peinent pourtant à clamer et, à la place, soupirent ou expirent. A-t-on même jamais entendu improvisateurs aussi discrets? Les instruments sont caressés – de la main, de la bouche ou de l’archet – et les notes qui s’échappent se fondent en drones multiples, qui se balancent et s’évaporent. Pour conclure, les musiciens abandonnent toutes prévenances – vocabulaire télégraphique et râles endurants – mais il est trop tard : l’essentiel a été dit plus tôt, entièrement et dans les soupçons. Guillaume Belhomme (Le Son du Grisli)

Interessante l'organico originale impegnato in questa performance dovuta all'incontro tra i due musicisti portoghesi Ernesto Rodrigues alla viola e Manuel Mota alla chitarra elettrica con i californiani Ernesto Diaz-Infante alla chitarra acustica e Gino Robair, percussionista che, oltre a modellare fenomeni elettrici e a tradurli in suoni, si è occupato della realizzazione del CD (editing, missaggio e masterizzazione).
Mentre gli ottimi improvvisatori sono impegnati in contesti non facili da gestire, nei quali si può rischiare realmente di perdere un filo conduttore, la chiave di lettura del CD, e questa è la sua forza, viene fuori da sola, come un entità esterna che un po' alla volta avvolge l'ascolto.
La stessa, quasi materializzata, attraversa e supera strusciando tutti gli ostacoli che il terreno offre, mentre la musica, con decisa attenzione all'aspetto materico del suono, ci racconta di queste microinterazioni, dalla parte del suolo, e la sua percezione prende forma lentamente... Nulla di preoccupante, è solo una suggestione personale!
Altrimenti, si puo' avere la sensazione di assistere al racconto di un tessuto metropolitano, che spesso releghiamo involontariamente in background, ma ciondimeno si presenta ricco di eventi di diverso genere.
Suoni frastagliati su uno sfondo silente, perché filtrato da tutti gli eventi in primo piano, accompagnati da pulsazioni ricorrenti e di forte carattere, si alternano e si mescolano con suoni prolungati dai lenti inviluppi. Si raggiungono così lentamente momenti anche molto intensi e capaci di grande coinvolgimento.
Si hanno ovunque complesità sonico-strutturali notevoli, a diverse scale di tempi e di intensità, giocate su impasti timbrici pure complessi, ma ben definiti.
Dunque ci colpisce la coerenza, l'interplay nelle improvvisazioni, la pulizia e la definizione degli eventi sonori ottenute anche attraverso un'attenta collocazione dei microfoni al momento dell'incisione, ma, se vogliamo anche dare un riferimento "classico," potremmo dire che a tratti ricorda, in chiave più tecnologica, lo spirito di People in Sorrow dell'Art Ensemble, sia per l'atmosfere che produce, sia per la sua (lenta) evoluzione, ma anche questa e,' naturalmente, una suggestione personale... Ignazio Prignano (All About Jazz)

This CD comprises the sonic outcome of a meeting that occurred in Oakland in 2006 between two couples of improvisers, one Portuguese (Manuel Mota on electric guitar, Ernesto Rodrigues on viola), the other Californian (Ernesto Diaz-Infante on acoustic guitar, Gino Robair on his customary "energized surfaces/voltage made audible" palette). The keyword is "moderate discordance": the artists' dissimilar backgrounds and the reasonable unsteadiness of the textural tapestry don't give many chances for an accurate categorization of this music. The album is released by one of the historic labels dealing with the documentation of the alternative scene in the Bay Area, PAX, but could have easily been published by Rodrigues' Creative Sources, finding similarities in a number of records from that imprint.

In that sense, there's no actual point in attempting a mere description of the events, given the fickleness and the variegated poverty (meant as a compliment) resulting from the interplay. More than rejoicing for a collective accomplishment, we appreciate the manifest peculiarities of the single timbres, utilized either as silence-probing factors or as a response to instrumental questions that otherwise would risk remaining unanswered and unremembered. The strings are scraped, plucked, hit and picked according to the spur of the moment, the temperate disparity between acoustic and electric guitar among the interesting features in the general picture.

The proliferation of asymmetrical spurts (enhanced by Robair's educated noise-making) and the influence of relatively static segments — "Um Lilburn Em Flovilla" a favorite in its delicate droning — balance the whole effectively, although certain extended pitches (replete with jarring harmonics) derived from the viola involve the brain quite a bit. And yet, the core of the matter remains fragmentary, uneven, occasionally harsh but absolutely not invasive. An intelligent demonstration of restrained electroacoustic multiplicity that keeps good company for almost 50 minutes. Massimo Ricci (The Squid's Ear)

Elettroacustica angolare, frutto di un'intensa giornata di registrazioni in quel di Oakland nel 2006.
Incontro/incrocio, fra i due statunitensi, Gino Robair (energized surfaces/voltage made audible), ed Ernesto Diaz-Infante (chitarra acustica), con i portoghesi, Manuel Mota (chitarra elettrica), ed Ernesto Rodrigues (viola).
Dialogo spontaneo e misterico, in aperto flirt con il silenzio.
Di Diaz-Infante, Mota e Rodrigues, abbiam più volte parlato su Kathodik (la ricerca non sarà difficile).
Gino Robair, è sperimentatore singolare, che utilizza strumenti autoprodotti, modificati, o semplicemente trovati.
Tom Waits, John Butcher, Anthony Braxton, ed un migliaio d'altri, in diversa formula e varietà, si son avvalsi del suo contributo artistico.
Praticamente nel guado, fra folk ruvido di strada, scossoni jazz e sperimentazione.
"Our Faceless Empire", è un susseguirsi, elusivo, fra elettrico ed acustico.
Eseguito con spirito Cage e Feldman, microscopiche eruzioni blues, e pratica Bailey.
Le superfici amplificate, e le frequenze rese udibili, di Robair, che suggestionano, ed indicano la direzione da prendere.
Combinazioni acustiche, che si tramutano, per raffinata ricerca timbrica, in sezioni percussive elettroniche.
Gioco riduzionista, che rispetta il silenzio, e lo riempie di brulicante ispirazione.
Quando la viola di Rodrigues, incrocia in perfetta simbiosi, la sollecitazione del metallo stridente, siam folgorati da un ricordo/miraggio, i Velvet con Cale, in combutta con Eddie Prévost.
Non semplice, ma dotato di un fascino, che ascolto dopo ascolto, cattura ed avvince.
Bertoia e Partch, avrebbero annuito soddisfatti.
Non per tutti, ma d'intenso, spigoloso, fascino. Marco Carcasi (Kathodik)

Just a few introductory words are enough to give an idea about “Our Faceless Empire”.
The line-up is self-explanatory of what to expect from this record. Bumping into four improvisers such as Diaz-Infante, Mota, Robair and Rodrigues, all at the same time, is a prelude to great things to come.
The disc has origins that date back to 2006, year in which Ernesto Rodrigues (the mind behind Creative Sources, one of the most prominent labels in the improv scene) and Manuel Mota (electric guitarist, have a look at Headlights’ catalogue), both from Portugal, met, in California, Ernesto Diaz-Infante (outstanding acoustic guitarist and composer) and Gino Robair (over two decades of creative effort, widely documented by his own label, Rastascan Records; he deals here with energized surfaces/voltage made audible).
This was the place where their paths converged, and a singular collaboration came out: nine pieces endowed with a special, multifaceted nature: large improvisational sections alternated to more conceptual levels of expression or, frequently, tangled instances.
What emerges is a surprising ability of the performers to amalgamate sounds coming from both acoustic and electric instruments which reach an exceptional degree of compatibility.
Measured interactions, harmonious nuances, overlaps in a delicate, subtle way; also noticeable is an appropriate balance among the roles of the protagonists, who act in concert and, moreover, with passion.

Slight touches of strings, a relaxed dialogue between viola and guitar (“Nosso Rosto Empire”), the produced sounds appear enigmatic and dense, deeply sharp.
Manipulated objects, high-pitched tinkles, screeching noises in “Luftzucker”, more frantic than the previous one: all happens swiftly, syncopated sequences of gentle movements.
This theme is resumed in the next piece “Mi Conde, El Odiosas” that runs without stopping for about two minutes, then a break before another set of sound fractures.
“O, Bursty Bruegel” shows two faces: minimal at first, when interventions are sporadic, largely structured in the second part, played collectively, this time also including bold strokes of melody.
“Intervalos De Confianza” has a distinctive character: based on a beautiful, moody texture that seems endless, turned into compulsive passages rich of rhythmic tension.
“Vida De Lujo” is basically built on bow effects: the result is close to a long, hypnotic, persistent, shrill scream.
In “Emético Labilty” the acoustic environment gets in touch with electronics more than elsewhere, whereas “Um Lilburn Em Flovilla” has an intuitive language and leads into an introspective ambiance.
Finally “A Cartesian Blaspheme”: layers carved by Rodrigues, the rest is moulded on them.

Eclectic work that depends on several variables, with intriguing solutions ranging in different research areas. Four musicians who share their techniques, develop challenging ideas, moving away from individualistic approaches, wisely. Well conceived, beyond all expectations. Spiritual Archives

La rencontre dans un studio californien de deux improvisateurs locaux et de deux musiciens portugais est en même temps une interaction entre l'acoustique (la guitare de DlAZ-INFANTE, l'alto de RODR1GUES) et l'électrique (la guiyarre de MOTA, les effets électriquesdc voltage de ROBAIR). Toutefois. cette confrontation, au lieu de nourrir unc musique contrastée multipliant lcs couleurs,
leurs nuances et les approches, devient un prétexte à lancer des sons, souvent sur un mode minimal parfois négationniste comme s'il s'agissait de créer un univers sans substance palpable hors de fugitives étincellcs. Un monde insaisissable et pourtant insidieusement présent. Pierre Durr (Revue & Corrigée)

Out of all of these artists, the only one I had heard of was Ernesto Diaz-Infante, but you never quite know what you will get, as he tends to vary his approach. But you know it's going to be an interesting ride when one of the artists, Gino Robair, is credited with the instrument 'Energized Surfaces / Voltage Made Audible.' The others are credited with steel string acoustic guitar (Diaz-Infante), electric guitar (Mota), and viola (Rodrigues). Put it all together and you have an interesting improvisation-fest. At times it is minimalist, at times it is noisy, and at times it is reminiscent of Cage's experiments with treated piano, but for the most part this is engaging, interesting stuff. Maybe it's me, but I got a whimsical sense in the music. The only drawback is that at times it seemed to blend together and become a bit repetitive. I get the sense that it would have been a lot of fun to watch these improvisations live. This disc weighs in at around 49 minutes. eskaton (Chain DLK)

Este encontro dos portugueses Manuel Mota e Ernesto Rodrigues com os californianos Ernesto Diaz-Infante e Gino Robair proporcionou-se aquando de uma viagem dos primeiros aos Estados Unidos em 2006. Só agora o registo teve edição, mas mais vale tarde do que nunca. A música tocada não está distante das premissas da improvisação "near silence", mas com a ressalva de que se identifica mais com a privilegiação de um trabalho textural do que com estratégias de utilização do silêncio ou de redução do volume e dos sons produzidos. A verdade é que "Our Faceless Empire" parece uma colmeia em plena laboração, com muitos pequenos elementos a acontecerem em simultâneo. A utilização da guitarra clássica por Diaz-Infante surge na herança de Derek Bailey, Mota está mais discreto do que é seu costume, intervindo com oportunos comentários que ora lembram uns blues "fingerpicking" geométricos, ora exploram a electricidade da sua "solid body", Robair move-se entre as "energized surfaces" (tambores da bateria sobre os quais aplica objectos vários, à maneira de Lê Quan Ninh) e o que apelida de "voltage made audible" (circuitos electrónicos) e Rodrigues está apostado em tornar a viola numa fonte bruitista. Muito bom. Rui Eduardo Paes

A strong free improvisation session between two Portugese musicians (Ernesto Rodrigues on viola and Manuel Mota on electric guitar) and two Californians (Ernesto Diaz-Infante on steel-string acoustic guitar and Gino Robair on energized surfaces). Abstract music, rather emotionless, consisting of scratchings and scrubbings and tweakings, producing fuzzy textures that take on a life of their own. Definitely not an easy listen, but a fine meeting of creative minds. François Couture (Monsieur Délire)