Ernesto Diaz-Infante & Matt Hannafin | All the States Between

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All the States Between

by Ernesto Diaz-Infante & Matt Hannafin

Extreme-ambient sound collage mixing electronics, field recordings, & radical turntablism with extended-technique percussion. "Open minded sound collage fans will find much to enjoy here." Jerry Kranitz, Aural Innovations
Genre: Electronic: Experimental
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1. Part I (track 1) Ernesto Diaz-Infante an Matt Hannafin
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11:33 $0.99
2. Part I (track 2) Ernesto Diaz-Infante an Matt Hannafin
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7:57 $0.99
3. Part I (track 3) Ernesto Diaz-Infante an Matt Hannafin
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6:44 $0.99
4. Part I (track 4) Ernesto Diaz-Infante an Matt Hannafin
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5:25 $0.99
5. Part I (track 5) Ernesto Diaz-Infante an Matt Hannafin
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2:27 $0.99
6. Part I (track 6) Ernesto Diaz-Infante an Matt Hannafin
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4:43 $0.99
7. Part I (track 7) Ernesto Diaz-Infante an Matt Hannafin
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7:46 $0.99
8. Part II (track 8) Ernesto Diaz-Infante an Matt Hannafin
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7:23 $0.99
9. Part II (track 9) Ernesto Diaz-Infante an Matt Hannafin
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10. Part II (track 10) Ernesto Diaz-Infante an Matt Hannafin
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7:50 $0.99
11. Part II (track 11) Ernesto Diaz-Infante an Matt Hannafin
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ABOUT THIS ALBUM


Album Notes
All the States Between is an electro-acoustic work constructed through the U.S. Mail, using (and working within the limitations of) two low-tech four-track cassette recorders.

Ernesto Diaz-Infante laid down his tracks in San Francisco in late 2001 on recycled tapes, using a Tascam Portastudio 424, turntable, Shure SM57 mic on TV screen and broken CD player, San Francisco MUNI/BART field recordings, Sony TCM-313 cassette-corder, jack plug, violin, and voice.

Matt Hannafin added his two tracks in New York in February 2002 using a Yamaha MT120, Samson R11 mics, percussion kit, hand cymbals, stainless steel handbells, qaraqeb, Ghanaian windmill bells, iron ankle bells, newspaper, bentwood tambourine, and miscellaneous rattles and shakers.

The work is constructed in two parts, corresponding to the duration of the original tapes.

Part I (tracks 1-7).......................46:39
Part II (tracks 8-11.....................30:44


Reviews


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Jerry Kranitz, Aural Innovations

open minded sound collage fans will find much to enjoy here.
Sub-titled An Electro-Acoustic Composition in Two Parts, All The States Between is a mail collaboration effort between San Francisco based Ernesto Diaz-Infante on electronics, turntables and field recordings, and New Yorker Matt Hannafin on all manner of percussion and things you hit or shake. The CD consists of two lengthy sound collage workouts, taking plenty of time to stretch out and explore at 46 and 30 minutes each.

At its core the music is ambient, though the duo make liberal use of noise, dense tonal assaults and percussive clatter. Like much of sound artist Hal McGee's work, Ernesto and Matt explore a highly textural but often spacey universe, with plenty of fun strangeness thrown in. Aliens bleeps and blurps coexist with phasing, shifting and grating radio wave tones, while the percussion noodles along busily but somehow keeps the proceedings on a steady course to somewhere. Overall it was the contrasts that kept me alert and interested. Throbbing, high volume electronic blasts mow down all in their path, while the percussion breezes along at a controlled and measured pace. The sounds of city traffic serves as the backdrop for a UFO freakout symphony. And lots lots more. It can be a harsh and challenging listen at times. But patient, attentive, open minded sound collage fans will find much to enjoy here.

Christian Carey, Splendid Magazine

...have created a focused avant-garde electronic soundscape...
Recorded collaborations in which the artists exchange tapes via mail often end up being tedious affairs that only emphasize the distance separating the collaborators. Ernesto Diaz-Infante and Matt Hannafin, however, have created a focused avant-garde electronic soundscape. Multi-instrumentalist Diaz-Infante and percussionist Hannafin filled two tracks apiece on recycled (and consequently worn-sounding) 4-track tapes. The results include a host of sounds: turntables, field recordings, amplified television hums, samples from broken CD players, rattles, shakers, iron ankle bells, newspaper, violin and voice are just a few of them! The album is cast into two main (lengthy) parts, which are broken into multiple tracks. As you might imagine, the relative paucity of conventional instruments and plethora of damaged mechanical devices creates a kind of battered industrial texture for much of the album. Perhaps (I'm speculating here) it is meant to serve as some kind of dystopian commentary on technology. Indeed, much of this sounds like a tone poem for sick (or sad) cyborgs -- buzzes and thrumming succeeded by percussive attacks, clicks and bleeps. While it is a challenging listen, I appreciated its monolithic determination and exploratory character.

Dead Angel

This is one of the more compelling ones...
You could probably make a compelling argument that Ernesto plays on too many albums for his own good -- I've already lost count of how many DEAD ANGEL has reviewed, but it's a lot -- but he delivers the goods pretty consistently, and works with a lot of interesting people... besides, what's he gonna do? He's a guitarist, the whole point is to play live and put out albums, right? The thing is, even with so many releases floating around, nearly all of them have been significantly different, and he's had some interesting collaborations along the way. This is one of the more compelling ones, an "electro-acoustic work" constructed over time on two primitive four-tracks, with the two of them sending work back and forth in the mail. Materials used / recorded by the duo in the process include turntables, a broken cd player, snippets miked from the TV, MUNI / BART field recordings, violin, voice, keyboards, percussion, hand cymbals, handbells, Ghanaian windmill bells, newspaper, bentwood tambourine, rattles, shakers, and other esoteric stuff; the result is two long tracks of destroyed samples, electrohum, glitch electronics, and other damaged sounds. "Part I (tracks 1-7)" are largely more about electronics / noise, while "Part II (tracks 8-11)" more prominently feature the use of traditional instruments, but both long tracks spend plenty of time exploring the dimensions of sound inherent in their choice of noisemakers. The tracks are long enough (46:39 and 30:44) to allow plenty of room for development, and while some listeners may find that a bit on the long side, there's plenty of nice elements to latch onto. Recommended mainly for the patient.

Downtown Music Gallery

...there are a number of fascinating moments...
Although bay area based Ernesto is most often known to play guitar and piano, here he plays cheap electronics, turntable, broken cd player, violin and other assorted stuff. He then sent his tracks through the mail to our good pal Matt Hannafin who plays exotic percussion, so that Matt could add his sounds to the mix. What we now get is two long tracks of mutated low-tech electronics and samples with lots of weird acoustic percussion.
The two long pieces here (47 & 31 minutes) slowly evolve as the mutant electronics and samples blend with Matt's array of eerie percussion, rubbed, banged and manipulated in different ways. At about 77 minutes, this is a bit too long, but there are a number of fascinating moments. Perhaps not extreme enough for fans of Voice Crack, but certainly worth a listen