rudis/custodio/diaz-infante | CRR Live

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Album Links
Pax MySpace page Pax official website Lx Rudis MySpace Page Andre Custodio MySpace page Ernesto Diaz-Infante MySpace page

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United States - California - SF

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Avant Garde: Electro-Acoustic Avant Garde: Free Improvisation Moods: Type: Experimental
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CRR Live

by rudis/custodio/diaz-infante

This exorcism of soundscapes is an eclectic mix of instruments and their uses. Darbuka, voice, extended guitar techniques, synths and live DJing. Textures and tones from abrasive noise, hallucinogenic contemplation, ambient relief, and hardcore collage.
Genre: Avant Garde: Electro-Acoustic
Release Date: 

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Tracks

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1. 21 GRAND, 6.26.02: 00:00:00.000 [start]
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2. 00:00:06.416 [introductory]
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3. 00:01:03.034 [uncertainty]
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4. 00:01:38.474 [instate]
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5. 00:04:17.667
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6. 00:05:26.477
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7. 00:06:09.776
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8. 00:08:10.767
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9. 00:09:13.911 [start of desert][audience]
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10. 00:15:31.631 [audience]
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11. 00:17:32.610 [andre in; temporarily] [audience]
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12. 00:21:37.586 [audience]
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13. 00:22:37.273 [end of desert] [audience]
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14. 00:23:46.447 [restate]
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15. 00:24:28.775
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16. 00:25:22.076
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17. 00:25:53.692 [ending state]
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18. 00:31:16.870 [audience]
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19. 00:31:39.468 [audience] [andre; terse]
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20. LUGGAGE STORE GALLERY, 6.27.02: 00:00:00.000 [audience/instate]
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21. 00:01:38.753
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22. 00:02:58.915
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23. 00:04:10.527
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24. 00:05:39.678
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25. 00:07:18.545
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26. 00:09:41.193
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27. 00:11:44.185
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28. 00:13:32.844
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29. 00:15:32.777 [ending state]
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30. 00:19:19.950 [audience]
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31. 00:20:32.797 [succinct encore]
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32. 00:31:17.443 [audience]
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ABOUT THIS ALBUM


Album Notes
CRR; Live:
The Performers:
Lx Rudis: DJ rig, Two copies of "Crashing The Russian Renaissance" (CRR).
Andre Custodio: Nord Modular Synthesizer, Microphone, Darbuka, Voice.
Ernesto Diaz-Infante: Amplified Acoustic Steelstring Guitar (extended technique).

The Production Team:
Marjorie Sturm: Executive Producer.
Tomas Hassan: Liaison to PAX Recordings
Lx Rudis: Field Recording, Edits.
Darwin Grosse: Mastering Engineer, Edits.
Tohru Kanayama: Graphics and Product Design.

Special Thanks to:
Sarah Lockhart and Darren Jenkins: 21 Grand, Oakland, Ca.
Rent Romus: The Luggage Store, S.F., Ca.

...most importantly: All those who came to see us perform.

The CD "CRR Live" is a follow-up, companion piece to "Crashing The Russian Renaissance," the studio album by San Francisco Bay Area artists Lx Rudis, Andre Custodio and Ernesto Diaz-Infante.

This trio re-assembled for two memorable concerts in 2002, but the circuitous road of this production didn't reach completion until 2007. With relief and excitement, PAX Recordings celebrates sharing this unique document to a wider audience. This exorcism of soundscapes is an eclectic mix of instruments and their uses. Darbuka, voice, extended guitar techniques, nord modular synthesizer along with the live DJing of two copies of the first CD "Crashing the Russian Rennaisance" creates a truly avant-garde listening experience. This challenging work ranges in textures and tones from abrasive noise, hallucinogenic contemplation, ambient relief, provocative empty spaces, and hardcore collage.

All three artists embarked on radically different creative paths shortly after the performances documented on this disc. Ernesto developed a new minimal performance style, 'mantra strumming.' Andre formed a two piece punk band. Lx reinvented himself as a DJ, focusing on live remix.

"CRR Live" is a recording that captures these shifts in style and vision as they occurred and were witnessed by live audience.

a translated review of CRR:
"Interesting this work of improvisation acoustic-electronic that without to resort to continuously makes up of free effect a sonorous flow in evolution, all to follow. A veicolata remarkable sonic-structural analysis from a will and a talent express to you acknowledges behind these brani that they guide to us exactly to gradevole ones I listen. Computer science-electronic means come used like acquired instrument, calmly in order to catch up the own scopes and a perfect equilibrium between the electronic aspect and that acoustic of the job is demonstrated, therefore, to essential thing, guaranteeing, sure without to degrade to role of shoulder for debatable emphases of banal materials...
It would remain to comprise the title ago it that reference between the other to a restaurant verosimilmente of Saint Francisco (city where it has happened the recording) represented to the inside of the simple booklet from the beautiful one, originates them and intrigued graphical, but I prefer to leave the divertimento to others. On a often granular land, to times close to wireless atmospheres from bands little practiced, lie down sonorous events of every type. From the ropes scratched or pizzicate of the guitar or of violino of Ernesto Diaz-Infante to its voice, than in trace 24 it is even made alarming...
The percussions of André Custodio between which the Darbuka (drum African to goblet shape) and Linens 6 [ green pods ] that beyond to the reference vegetable it does not say to me null (!), but listened to also the monetina of trace 10 that comes made to fall on purpose on its guitar. Still other "concrete" sounds as it deals break you of wireless voices, but also the remarkable electronic elaborations of the multimediale artist Lx Rudis who converses with the two companions through its Matrix 12, the superflexible analogic sintetizzatore produced from the Oberheim beginning from half of years 80 and not more in production. Softer traces and little sgranate like from the 15 do not lack to the 17 even "more musical ones", but that they yield endured the step to other "more noisy ones" and complex. The material comes distributed slowly along the fast brani without search of and roboanti alternations, with delicacy therefore. In any case an alloy coherence deep the several traces offering to us I listen soothed seppur complex. Also in seat we find ourselves to times in the interstellar space to capture with one mysterious radios electromagnetic events for tradurli in sonorous events, but sooner or later it vocalizes of Diaz-Infante or the pizzicate ropes of the guitar us risvegliano and bring back us to the inside of the small boat where the three authors are performando..." --Iganzio Prignano, All About Jazz Italia

Bios:
Lx Rudis works comfortably in both commercial and underground art, usually within context of emerging technology, frequently on creative terrain which is difficult to define with the buzzwords of the time. from early work in what came to be known as 'synthpunk' and 'industrial' music to more recent accomplishments in Augmented Reality and socially networked gaming, Mr. Rudis works at the forefront of speculative art, gleefully exploiting a constantly evolving palette of ideas and tools.
His previous collaborations include work with: The Units, SRL, negativland, George Coates Performance Works, United Satanic Apache Front, Winston Tong and many others. His professional alliances include: National Public Radio, American Broadcasting Company , Atari, Sega of America, Sony Computer Entertainment of America, Konami of America, Ultracade/hyperware and many others.
for more information on mr. rudis, including interviews and examples of his work, enter the text 'lx rudis' into any Internet connected search engine.

Andre Custodio is a veteran Drummer and Abstract Sound Designer living/working in San Francisco. Custodio's live and recorded collaborations are a "who's who" of the San Francisco Bay Area experimental/improvisatory set.

Born in Salinas, California, Ernesto Diaz-Infante, is Chicano (of Mexican descent). He received his MFA in Music Composition from California Institute of the Arts and has created musical compositions that span a broad perspective: transcendental piano, noise, avant-garde guitar, field recordings, lo-fi four-track manipulations, and experimental song. ED-I has performed throughout Europe and the United States, and his music has been broadcasted internationally. He has recorded more than 15 CDs of music and collaborated with numerous musicans. In 2000, his composition, I/O (for chamber ensemble), was performed by the California EAR Unit. He has been awarded residencies at the Centre International de Recherche Musicale (CIRM) in Nice, France, The Millay Colony for the Arts, Villa Montalvo, The Ucross Foundation, among others. He lives in San Francisco with the filmmaker/video artist Marjorie Sturm and their son and daughter.

More info:
www.myspace.com/paxrecordings
www.paxrecordings.com


Reviews


to write a review

Ingvar Loco Nordin

Sonoloco Record Reviews
Pax was one of the first record companies that Sonoloco really took to heart, but it’s been long time new review now, so it feels special to take that good close reviewing look at a Pax recording again: CCR Live – which is short for Crashing The Russian Renaissance Live, hinting at an earlier recording entitled… Crashing The Russian Renaissance!

The stuff was all recorded in two California joints: 21GRAND in Oakland and LUGGAGE STORE GALLERY in San Francisco. I enjoy the “translated” review that comes with the CD, apparently translated from the Italian by one of those post-guide-to-the-galaxy Babel fish computer translators, turning the simplest sentence into post-modern sound poetry of a wicked and twisted Öyvind Fahlström kind!

The contents on the back of the CD cover are laid out like graphic art of the Lettrist kind – so much has gone into the artistic touch here, which we enjoy! There’s been a trend – in Sweden, where I reside – for many years now, to make everything look as laconic and meaningless as possible, and I’d like to see new directions on ahead. This cover, at least in some ways, points down one possible path.

And the sound? It’s about the sound, isn’t it? Well, these are live recordings, in front of a fairly small audience, from how they sound. I’ll touch upon some random places in the binary flow.

It’s a mixed bag of sonic seductions in play on CRR Live. The computer-translated Italian text reflects back well on the music, which is jagged, disjointed and flAky – yes, the upper-case showing off disparate feelings and forces pulling hither and thither. In an improvised setting you can either strive towards softly flowing harmonies, leaving most f the excitement out of the picture, or you may approach the moment viciously, with venom and acidic fluids – and Rudis, Custodio and Diaz-Infante veer off rapidly into a no-man’s-land of poisonous mushrooms and angry insects!

In some instances you cannot decide whether you ride the storm clouds of winter Lapland or whether you’re being ground against a moraine slope of said vicinity. It’s rough and relentless, piercing matter and mind with the same glowing distress. We like it.

For some reason the guys at the post-production have messed up, or didn’t they care? Fact is that there are clearly audible breaks between tracks, the way you used to have it in the beginning of home-burning, as you may recall. There’s no contemporary excuse for that, though. It disturbs listening – but if you’re an aficionado for this lot, you can fix that in your computer. Amadeus Pro is a good, cheap remedy, in that case. This IS a CDR production, so naturally it didn’t go through all the validation tests of a regular print.

Later the crew enters mildly chewing rosary sections, saliva-rich and stars-low-on-the-horizon vibrating, soothing and stroking. It’s like flying slow and low, five inches above the gutter, really smelling the world… before the music (what a poor word!) stops and just some PA hum and flapping bits of on-stage conversation (hand bent round the microphones) remain, for quite a while, John Cage erasive… until you discover that there indeed are small, amplified sounds rustling about round equipment and booty feet. John Cage, yes, still clinging to the semi-sounding world of electric silence; that humming, wheezing and crackling domain of involuntaries and determined resignation.

These three musicians are painting a Miró; that’s what they’re doing, or writing a Tristan Tzara! The kind of sound art they’re involved in cannot only be sensed as music, or perhaps even not primarily as music. It is something else; a milieu, a bewildering fragrance of passing blindfolded through a crowd in 19th century Russia; all that rainy garment, oozing with poor ladies.

Other sections of the CD contain lucid transmissions of crackly and sighing audio, right from the periphery of existence – or at least of audibility! In these see-through patches you may enjoy a gentle swell from interstellar voids, dotted with the sudden and brief needles of flaring, transient moments of individual minds, the way we all, through time and space, make up the general state of the universe. Remember: we are not parts of the universe; we ARE the universe: we are identical with the universe: we are the universe studying itself. If you try to find any scientific fact that would negate this thought, you will not succeed. I don’t know whether that is fun or a lousy insight, but personally I find consolation in that fact, the clear understanding of the illusion of individuality.

Further down the CD duration. A cough starts of another kind of statement, hopping and thudding down the line in a rhythmic elbowing through the timeframe. Even Diaz-Infante plays percussion, on his guitar, while others chat along in great detail on their respective sound sources.

To sum it up, this is not a CD you can make sure statements about. A lot is happening, and how you hear it will depend on your place in life, the way your illusion is in your face, and how you feel when you lay back and rest and let gravity get the better part of you.

I enjoy hearing CRR Live, much the same way I enjoy – cageously! – the fuming truck-whining of an active gravel pit or the sea gulls rising like unselfish thoughts over the Baltic Sea just off of the SSAB steelworks…

Guillaume belhomme

Le Son du Grisli
Rudis, Custodio, Diaz-Infante: CRR Live (Pax Recordings - 2007)

rcdigrisli

Après avoir enregistré ensemble l’album Crashing The Russian Renaissance, Ernesto Diaz-Infante (guitare), Andre Custodio (percussions) et Lx Rudis (électronique), improvisèrent en public CRR Live.

Parti au son d’une ambient expérimentale pas forcément originale (grondements divers et charges bruitistes, effets de masse côtoyant des silences, parasites et larsens), le trio installe ses manières avec plus de singularité lorsqu’il décide de s’impliquer davantage : la guitare désaccordée de Diaz-Infante répondant, répétitive, aux imprécations électroniques de Rudis, les interventions de Custodio sur darbouka éloignant la menace des souffles et sifflements qui s’immiscent un peu partout dans la conversation.

Déconstruit et belliqueux, CRR Live projette ainsi 31 pièces fulgurantes et une autre plus longue, qui imposent au final les directives à respecter de leur électroacoustique affolée.