Music Reviews

Artist: Anthony Pateras
Title: Collected Works Vol. II (2005-2018)
Format: CD + Download
Label: Immediata
This extensive 5CD, five-and-a-bit hour set methodically selects from Pateras’ back catalogue based on three categories, with either one or two discs for each. This has the effect of producing five compilation albums which have their own distinct character- you can certainly find a favourite disc and a least favourite disc- but which are fundamentally all based on the same principles- long, drawn-out avantgarde experimental and classical works blending organic and orchestral elements with some electronics and post-production trickery to generate long, drawn-out, deep and usually quite velvety sonic landscapes that are writ large and explored in detail.

First disc “Solo & Electronics [A]” represents some of the more ‘cosy’, intimate works, a collection of warm ten-minute drones and melodic blankets that- with the exception of the slightly squealy “Burning Is The Thing”- is decidedly relaxing and welcoming. “Solo & Electronics [B]”, the fourth disc, is perhaps a touch more sinister, with pieces like “Rules Of Extraction” making heavy use of high-pitched teeth-gritting tones that cut straight to discomfort and alienation. “TamTam +”’s low hum and distant industrialism is a highlight, as is the back-and-forth of electronics with Jessica Aszodi’s soprano vocal work in “Prayer For Nil”.

Second disc “Improvising Ensemble [A]” is slightly more purist, consisting of only two pieces, one of them over fifty minutes long, in which the live ensemble paints waves of sound that ebb gently and woozily. It’s reminiscent of Lygeti in parts, as is “Artifacts Of Translation”. Shorter piece “As Long As Breath Or Bow” has the edge though, with a masterful twenty-minute display of slow tension building. By contrast “Improvising Ensemble [B]” is made up of more impulsive pieces, such as the almost cheekily delivered and playful “Onetetradecagon”, certainly the most fun-to-play piece in this set- although the various parts of “Fragments Splinters & Shards”, which exhibit more of a leaning towards modern electronica, must also have been up there.

Third disc “Trios” opens with a series of short works for vibraphone and antique cymbals, a high-pitched and strangely itchy anti-groove affair. The first longer work has the same spiky tone transposed onto guitar and prepared piano, leaving “Three Mirrors”’s unusual interplay of eccentric saxophone work with electonic clicks as the most palatable part of arguably the least accessible disc.

I was thoroughly swayed by the opening disc and there’s a wealth of long, in-depth pieces to really get your teeth into here. It’s not all spectacular- the “Trios” disc in particular left me a little cold- but otherwise it’s a broad and very respectful anthology of work from a prolific composer with character.

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