Ipecac Recordings

9 December 2014

Mike Patton: Voices

Anthony Pateras: Synths/Pianos/Machines



Special guest:



Will Guthrie: Drums (1-7, 9)


Additional musicians:


Natasha Anderson: Bass and Contrabass Recorder (7)


Jessica Aszodi: Soprano Voice (3)


Anthony Burr: Clarinet (1), Bass Clarinet (2, 10), Pedal Steel (3)


Axel Dörner: Trumpet (5)


Samuel Dunscombe: Bass Clarinet (2, 10), Clarinet (9)


Alexander Garsden: Guitar (7)


Judith Hamann: Cello (3,6)


Matthias Schack-Arnott: Percussion/Vibraphone (4), Marimba (3,7) Glockenspiel (7)


Valerio Tricoli: Revox B77 (1,2,4)


Erkki Veltheim: Violin (1), Viola (4), Prepared Violin (11)


Els Viaene: Field Recordings (1)

* * * * *

tetema is a new duo project from Mike Patton (FNM, Bungle, Fantomas, principle Zorn interpreter) and Australian composer/pianist Anthony Pateras (Thymolphthalein, Pivixki, Pateras/Baxter/Brown). geocidal is audio caffeine injected direct into your eyeballs. Recorded across half the continents on the planet, this record investigates the murder of place. Do borders even matter any more? Should we even leave the house?  Is there any specificity left in this generalized cesspool of culture? Or has the tidal wave of digitally-fuelled apathy swamped any sense of tangible individuality? tetema demand another universe to this one, and have built one especially for you.


Boasting a 12-piece all-star cast of incredible musicians and featuring special guest drummer WIl Guthrie(absolutely slaying), tetema hand picked a devastating team of instrumental virtuosi to assist their quest to make indispensable music in the age of permanent refuse. As a result, geocidal brings the most glorious noise, interrogating the deepest cosmogonies and malformations of man. It’s true! Antique synths? Check. Outlandish orchestration? Definitely. Face-frying vocals wrapped in velvet? You know it.


If we could name some references for you to file this under, we would, but some one or some thing is eventually going to tell you what it sounds like anyway, so we won’t. To us, it sounds like two maniacs in their respective studios having the time of their lives, rebirthing some of the most insane songcraft this side of the godforsaken Miley Cyrus-worshipping millennium. So stop like-ing cat jpegs, stop drooling into your phone and listen to this freaking record – it will literally re-wire your existing perception of sonic possibility, although that’s probably underselling it. Featuring absolutely gorgeous drawings from Sydney artist Nik Kamvissis, this album brutally articulates the hell of now!

* * * * *

How did tetema form?


Mike and I met in Melbourne in 2009, we hit it off instantly and thought we should do something together.  I’ve followed his work for ages, and he really understands where I’m coming from compositionally for some bizarre reason. We have an uncommon aesthetic affinity, similar work ethic and the music which results from that combination sounds like nothing I’ve heard lately, so I’m hoping people will get a kick outta that like we do…


How did you record Geocidal?



This album started when I locked myself in a convent in rural France for 10 days to think about rhythm and sound.  I then went to Paris to record the drums and prepared piano…this was the first thing to go down – everything came out of that.  From then on overlaid weird analogue electronics from extremely rare synths, then proceeded to orchestrate with strings, winds, brass, orchestral percussion.  This process took about a year and a half, and we started to add vocals January this year when I visited Mike in San Francisco. We had the craziest 48 hours together, and somewhere between Patton’s appalling Australian accent piss-takes some magic happened.



The interesting thing about the record is that every element is recorded in a different country, and this gives the sound a displaced, almost vaporous intensity. I moved country twice during its genesis as well…the whole geocidal thing is about coming from no place, re-birthing, watching the place you are from be altered beyond recognition that you have nothing to do with it anymore.  Brussels was a perfect place to conceive this record – there are people there trying to run Europe while you have complete urban chaos and human trafficking a few blocks away…


What is the concept behind tetema?

tetema for me at least, started through a desire to create a sonic universe from scratch.  Everything on the record is played in live – there are no samples, everything is hand-crafted and performed by a human.  This is not a Luddite manifesto, it was more a desire to base everything in this music on feel and instinct – to never be told what to do by a machine and trust ones senses.



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