Sean Baxter: drums
David Brown: prepared guitar
Anthony Pateras: prepared piano
Archival and live recordings from Australia's premiere prepared acoustic improvising trio.
Formed in 2002, Melbourne’s Pateras/Baxter/Brown toured heavily between 2004 and 2008, playing a regular residency at the Empress in North Fitzroy in between extensive European tours. They performed multiple concerts in classical, electronic, jazz, grindcore and avant-improvised contexts while maintaining a unique sonic personality of considerable depth and breadth, gathering a cult following from across the broad aesthetic spectrum they inhabited.
After a 6 year hiatus the band reunited for some new recordings at the Inland Concert Series in 2017, which are paired with a hilarious and legendary show at the Dachstock Reithalle in Bern from 2006. Disc 2 documents their first rehearsal in Princes Hill, as well as their last recorded European concert in Milan after playing a sextet tour with The Necks in 2008.
This is the 14th release in the Immediata series, beautifully presented on ruby recycled cardboard with silver hot stamped text on front, featuring an extended 32-page essay by drummer Sean Baxter. Mastered by Lachlan Carrick at Moose Mastering.
released April 1, 2019
Inland concert recorded by Lachlan Carrick, Church Of All Nations, Melbourne, 2017
Inland concert mixed by Anthony Pateras, Akademie Schloss Solitude, Stuttgart, 2018
Bern concert recorded by Sandro Wiedmer, Dachstock Reitschule, 2006
McIlwraith tracks recorded by Anthony Pateras at first ever PBB rehearsal, 57 McIlwraith St, 2002
Milan concert recorded by Atilla Faravelli, O'Artoteca, 2008
Mastered by Lachlan Carrick at Moose Mastering, Melbourne, 2016 & 2018
Layout by Shehab Tariq at Implant Media, Melbourne, 2018
Special thanks to Fabio Carboni, Rohan Drape, Atilla Faravelli, Alexander Garsden, Sara Serighelli & Sandro Wiedmer
supported by 10 fans who also own “IMM014: Bern · Melbourne · Milan”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt