Tape part recorded and assembled at Gold Tony Love’s Audio Hell, Castlemaine, Australia.
Perfromance recorded by Tomasz Kubiak live on 27th September 2019 at the 17th Sacrum Profanum Festival
in Małopolska Garden of Arts, Kraków, Poland.
Festival curated by Krzysztof Pietraszewski.
Pseudacusis was commissioned by the Musica Sanae project by In Situ Foundation (Sanatorium of Sound Festival in Sokołowsko) in collaboration with Michał Libera, Phonurgia (La Digestion Festival in Naples) and N.K. Projekt (Berlin).
Album produced by In Situ Foundation, Sacrum Profanum and Bocian Records.
Special thanks to Tiziana Bertoncini (violin) + Gerard Lebik (saxophone) + Chiara Mallozzi (cello) who were all essential
in the development of this piece in its inital performances, but could not appear at the Krakow concert.
Pseudacusis supported through the Victorian Government through the Creative Victoria Creator’s Fund.
released February 5, 2021
Anthony Pateras: "Pseudacusis"
Lucio Capece: bass clarinet / soprano saxophone;
Krzysztof Guńka: saxophones;
Riccardo La Foresta: percussion;
Mike Majkowski: double bass;
Anthony Pateras: piano;
Deborah Walker: cello;
Lizzy Welsh: violin.
Aviva Endean: clarinets;
Judith Hamann: cello;
Jonathan Heilbron: double bass;
Scott McConnachie: saxophones;
Maria Moles: percussion;
Anthony Pateras: electronics;
Erkki Veltheim: violin.
Music composed & mixed by Anthony Pateras;
Mastered by Joe Talia at Good Mixture, Tokyo, Japan;
Tape part recorded and assembled at Gold Tony Love’s Audio Hell, Castlemaine, Australia;
Perfromance recorded by Tomasz Kubiak live at Sacrum Profanum Festival, Kraków, Poland;
Artwork and design by Joanna John, Tromsø, Norway.
Seemingly formless but with a sense of being carefully constructed, "Meith" is a striking and lovely piece of electroacoustic music. The sound design here is fairly minimalist and reductive, but also evocative and almost dreamlike. Excellent work, both as a display of sonic mastery and as an immersive journey for the listener. Alec L. Critten
Is the sound of any instrument more profound than that of the cello in the hands of a master? (Well, maybe the viola da gamba.) Here is exquisite cello music from the 14th to the 21st centuries played by Charles Curtis, including four compositions of his own. "Unfinished Song" will make you a believer. John Simms