A sound dialogue between eRikM and Anthony Pateras.
In Autumn 2017, eRikm (CD-J, Idiosyncrasie system) and Anthony Pateras (synth, sample) embarked on an acoustic encounter, a direct dialogue through their machines. Each brought their own experiences and know-how together with a shared desire to explore sound landscapes in complete freedom. From this meeting, Albédo was born. Their material was developed sometimes in the studio, sometimes in concert. This dialogue, articulated within the unpolished depths of the sound’s structure, is captured in Albédo with one side recorded live in Ljubljana and the other in the CCAM studio in Vandoeuvre.
Since 1992, eRikm, a Marseilles based artist,
has extended the field of artistic experimentation on the international scene.
Maintaining a constant fusion between thought, instinct and sensitivity, he pursues a simultaneity of practices and addresses the interplay between various compositional modes, relating to and using all languages.
From his early experience as a guitarist through to his later visual work, he is a maverick genre-bender who breaks down anyone's attempts to conveniently classify him.
Quickly recognised as a virtuoso turntablist
and sound artist
(1996), eRikm has made a longlife habit of crossing all territories and “world-systems” deemed “independent”, “institutional”.
At the same time (1997), he has developed an open and aspirational approach toward the technological media, both as a means of development for a new economic model and as an instrument for creation, production and diffusion.
He deals with sounds like living organisms, constantly in flux, always open to the risk of accident or delight/unisson. As he plays with all these contradictions in his improvisations, his performance reaches new heights of intensity, trading off both understanding and sensation, seriousness and farce, anticipation and instinct.
His work references both the intimate and political, both popular and high culture, but without demonstration. Rather he creates a short-circuit connection between points with his live generated (and degenerated) material—from noise to reference – presenting multiple ways to capture each moment of the present in clear focus.
Throughout his career, collaborations have naturally occurred with his audiences and contemporaries, most notably : Luc Ferrari
, Christian Marclay
, Mathilde Monnier, Jerome Noetinger, FM Einheit... The kind of coincidences which have confirmed his instinctive search for transmutation, and to play on several levels.
Since 1997, on his own or with collaborators, eRikm has toured (with 5-7 on-tour projects to date), or created by request specific pieces, both transversal or for fixed spaces (record labels, radio, festivals, art centres...).
In the meanwhile, each time building on what has emerged before, the most personal fragments from his work (notably from his early artworks in photography, drawings, visual installations and video) continue to substantiate a singular kaleidoscopic vision.
Ultimately, eRikm's research resonates through all of his work, bordering scientific discovery and a poetic curiosity of the world.
Anthony Pateras (born 1979) is an Australian-born composer, pianist and electro-acoustic musician active since the late 90s. His music explores electro-acoustic orchestration, auditory hallucination and polytemporality.
His work has been recognised through the 2020 Michael Kieran Harvey Scholarship, residencies at Akademie Schloss Solitude, La Becque and ZKM, fellowships from Creative Victoria, Ian Potter & Sydney Myer Foundations, and representing Australia twice at the
UNESCO International Rostrum of Composers.
Pateras has been commissioned internationally by INA-GRM, Südwestrundfunk, ensemble]h[iatus, Eklekto, Kitchen Orchestra, the City of Modena, Musica Sanae Festival, Festival Archipel and Synergy Percussion. His pieces have been performed by the Los Angeles Philharmonic, BBC & Toronto Symphony Orchestras, Australian Chamber Orchestra, Golden Fur and ICE, among many others.
Anthony Patera also works with text and film, recently completing an adaptation of Jump Cuts by Sasha Soldatow & Christos Tsiolkas with James Rushford, music for The Man Who Disappeared by semiotext(e) founder Sylvère Lotringer
, and Another Other, an audio-visual re-imagining of Ingmar Bergman's Persona with Natasha Anderson, Sabina Maselli and Erkki Veltheim
for Chamber Made.
Pateras' longest running collaborations are with the composer/violinist Erkki Veltheim (in duo, in tētēma & in North of North with Scott Tinkler), and with the electronic musician Jérôme Noetinger
, specialising in musique concrète environments using piano, electronics and tape machines.
He has also worked extensively with the programmer & mathematician Rohan Drape on multiple keyboard and ensemble works.
Pateras has also collaborated with Sunn O))), Anthony Burr, eRikm
, Oren Ambarchi
, Mike Patton or James Rushford
on various recording projects, and notable bands include Thymolphthalein
, PIVIXKI and Pateras/Baxter/Brown
Anthony has published over 40 albums of his music on labels Tzadik, Editions Mego
, Ipecac, All That Dust, Cave12 and Penultimate Press, and from 2012-2019 edited and produced the 15 volume Immediata text/music project.
From 2001-2008 he completed a Masters and PhD at Monash University which both focused on the intersection of composition, improvisation and electronic music, in relation to timbre and form.
See also Thymolphthalein
(Natasha Anderson, Will Guthrie, Jérôme Noetinger, Anthony Pateras & Clayton Thomas); Extended Pianos
(Erik Griswold, Anthony Pateras & Robin Fox); Astral Colonels
(Anthony Pateras & Valerio Tricoli
); North of North
(Anthony Pateras, Scott Tinkler & Erkki Veltheim); 176
(Chris Abrahams & Anthony Pateras); Pateras/Baxter/Brown