When: Fri., May 20, 8 p.m. 2011
Over the past decade, Australian pianist and composer Anthony Pateras has moved fluidly between genres—classical, noise, free improvisation, experimental rock—and threaded them all together with his fierce curiosity and subtle virtuosity. This year his free-improv quintet Thymolphthalein released Ni Maitre, Ni Marteau (Editions Mego), a spiky, pleasingly grimy session whose extremes in sound and gesture are marked out at one end by the tape-machine smears of Jerome Noetinger and at the other by the thudding percussion of Will Guthrie; last year his duo with hardcore punk drummer Max Kohane, Pivixki, released the visceral Gravissima (Lexicon Devil), which sounds a bit like an instrumental piano-and-drums answer to Japanese punk-prog dervishes Ruins. His 2008 album Chromatophore (Tzadik) collects a sprawling assortment of unconventional compositions—chamber music heavy with weird string friction, an equilibrium-destroying percussion piece—and his long-running trio with drummer Sean Baxter and prepared-guitar player David Brown spotlights his work on prepared piano, whose sharp, prickly tone suggests next-century hammered-dulcimer music. He also has an excellent electronic duo with Robin Fox, and on their 2009 album End of Daze (Editions Mego) he creates a violent array of piercing, squiggling bursts with a Doepfer A-100 (a modular synth) and a Revox tape machine. For his Chicago debut, Pateras will debut a four-channel computer piece in homage to French sound poet Henri Chopin, which he prepared for the occasion; it uses rapidly panned samples of prepared piano, manipulated Doepfer, and brief recordings of his voice distorted with the Revox machine, and he'll perform it in darkness. —Peter Margasak At 8 PM on Tue 5/24 at Mayne Stage, Third Coast Percussion and flutist Tim Munro of Eighth Blackbird premiere Lost Compass, a commissioned piece by Pateras, who will be in attendance; tickets are $15.
Price: Free with RSVP at http://pateras.eventbrite.com/.