"Inevitable Plasma" finds Pateras playing piano in such a way that his hands at times work as one to more ably explore the extremes of density. I can only assume the title refers to both the music's mutation within the piece and to the convergent mutation of organic and electronic.Īll of the pieces on this album examine the role of time in music. Upon listening again, I can appreciate the simultaneous "organicism" and almost mechanical symphony of the six players: evolving slowly and smoothly while attacking and retreating with the precision of a Powerbook. He describes the movements of "Transmutations" as explorations of both "various densities of repeated timbral events or gestures" and "the gradual mutation of sonic mass through time." They are his reinterpretations of electronic performance and production for live instrumentation, each a "decomposition backwards from the initial creative impulse." My perception completely changes. But then again, few liner notes are as informative as these, with Pateras detailing his intentions of every piece.Īt first, I heard the opening work, "Transmutations," as a very able study of dynamics in volume and intensity but admittedly nothing terribly groundbreaking. With Mutant Theatre, my approach to the music was altered considerably by reading the included liner notes, something I rarely do. Maybe that's why music heard through a minimum of filters is so enjoyable. Isn't it amazing how drastically reading something about an artist or a song can sometimes change the way they sound afterwards? Whether it's reading an interview with the band or a particularly insightful review, it can help unlock layers of the music that you hadn't accessed before. Mutant Theatre is a twisted cornucopia of driving rhythms and wild sonic explorations. Anthony Pateras has studied composition academically, toured extensively throughout Europe, North America and Asia and has collaborated with numerous improvisers and electronica musicians the world over. He holds a PhD from Monash University, and currently lives in Melbourne, where he teaches composition privately in between composition and performing commitments.ĭynamic and colorful music for percussion, prepared piano and electronics from a marvelous young Australian composer. Pateras’ music is released through the labels Tzadik (New York), Editions Mego (Vienna) and Lexicon Devil (Melbourne). Later this year, PIVIXKI will perform in trio with vocalist Mike Patton at the Great American Music Hall, en route to the Victoriaville Festival in Canada. In February 2011 he performed across Europe with diverse musical personalities such as DJ eRikm, guitarist Stephen O’Malley and revox-master Valerio Tricoli.
#ANTHONY ANDERSON ORCHESTRA AND VOICES PRACTICAL MAGIC SONGS FREE#
Former long-term projects include a live electronics project with Robin Fox and the acoustic free music trio Pateras/Baxter/Brown.
Pateras is always open to new musical adventures, as reflected by his numerous collaborators: he has guested on records by guitarist Oren Ambarchi and electronics guru Christian Fennesz, featured on the Franc Tetaz soundtrack for Wolf Creek, worked for visual art collective Slave Pianos and performed with iconic trio The Necks.
He has also played with some of the top creative drummers on the planet such as Paul Lovens, Tony Buck, Han Bennink, Will Guthrie, Lê Quan Ninh and Robbie Avenaim. Pateras explores his musical interests further through his bands and projects: high velocity piano/drums explorations (PIVIXKI with Max Kohane), electro-acoustic-free-jazz concrète (THYMOLPHTHALEIN quintet), amplified prepared piano (CHASMS) and immersive electronic noise (POLETOPRA with Marco Fusinato).Īnthony has a particular affinity with percussion and has ongoing creative relationships with percussionists Vanessa Tomlinson and Eugene Ughetti, writing many pieces for solo and ensemble percussion in direct collaboration with the performers. People who have performed these include Speak Percussion, the Los Angeles Philharmonic, Brett Dean, Percussion Group The Hague, Erkki Veltheim, Melbourne Symphony Orchestra, Ensemble Phoenix Basel, Richard Tognetti and the Australian Chamber Orchestra. He has composed numerous pieces since the late 90s, each aiming to develop a unique musical situation that strongly communicates on a sensual level. His work is unified by the simultaneous investigation of the formalized, intuitive, electronic and acoustic. Primarily an idiosyncratic pianist, he also works with the Doepfer A-100 analogue synthesizer and composes written works for ensembles, orchestras and soloists. Anthony Pateras is a musician from Melbourne, Australia.
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