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| PIVIXKI (Pateras, Kohane; Photo: Aaron Chua) |
, made up of Anthony Pateras (piano) and Max Kohane (drums.)We were recently able to catch-up with Anthony Pateras to get the scoop on what to expect for the show and to learn more about the duo known simply as PIVIXKI.
SFBAC: For those who may not be familiar with your work, how would you describe PIVIXKI?
Pateras: Drums and piano used in a combination that may not be immediately obvious, but after a few songs makes total sense.
SFBAC: Where does the name PIVIXKI come from?
Pateras: Its a secret.
SFBAC: You seem to float in-between various collaborative groups depending on the type of music being created. Where do you feel most comfortable performing/composing? Which is most challenging? Which do you prefer?
Pateras: I’m very comfortable performing with Max (PIVIXKI drummer) - its great because he cancels out the strict composer side of my personality with his loose attitude, but he’s also really disciplined. Most challenging I have to say is writing new pieces – making something from nothing, with just a pen and paper. That can be terrifying, but immensely satisfying when something great happens.
SFBAC: How did you connect with Mike Patton and how did this show come about?
Pateras: We’ve been talking about working together for a while, and this seemed like a good place to start.
SFBAC: PIVIXKI has been self-described as 'high velocity piano/drums explorations', what can we expect at your upcoming show at the Great American Music Hall?
Pateras: Super-tight piano/drums songs with electronic bits with Mike singing over the top?
SFBAC: Should we expect more from PIVIXKI / Patton in the future?
Pateras: One show at a time!
SFBAC: Your site mentions the Victoriaville Festival in Canada after your show at the GAMH, do you have further touring plans after these two upcoming shows?
Pateras: We’re doing a big European tour in October/November with a friend of ours Marco Fusniato from one of my other bands POLETOPRA...afterwards we’re hoping to go to New Zealand, because it's the best.
SFBAC: You've worked with a number of impressive artists throughout your career, who's impressed you the most and why?
Pateras: There’s no hierarchy. I will say that Chris Abrahams (pianist from the Necks) is one of the most musical humans on the planet and listening to him play just makes me feel like there’s a point to all of this nonsense. He’s also hilarious. Composer Brett Dean is also a constant source of inspiration and one of the only conductors I know with truly open ears, and just a master orchestrator in every sense. Erkki Veltheim just plays the hell out of the violin like no one - hearing that guy play makes me get up in the morning. I’m also lucky to play in THYMOLPHTHALEIN with Jerome Noetinger, Clayton Thomas, Will Guthrie and Natasha Anderson – as a unit some seriously inexplicable magic happens that will sound lame if I try and articulate it here, but suffice to say, these people are gems.
SFBAC: Who have you been influenced by most?
Pateras: Recently deceased whom I wish I had a chance to talk to: Teiji Ito, Louise Bourgeois, Iannis Xenakis, Morton Feldman, Leigh Bowery, Moondog, Len Lye, J Dilla, Arthur Russell, Henri Chopin, Nam June Paik, David Tudor, Francis Bacon..living people whom I hope to talk to: Bernard Parmegiani, Colm Toibin, Caetano Veloso, Eliane Radigue, Cecil Taylor, Brigitte Fontaine, Lee Perry, Lo Borges, JG Thirlwell, Gary Indiana, Romeo Castellucci..contemporaries who I feel I can learn a lot from : Gisele Vienne, Peter Rehberg, Philip Brophy, Christos Tsiolkas, Marcus Schmickler, Michael Stevenson, Peter Evans, Bruce Russell....and this is not just a list of names to sound informed – these people keep me going with their imaginative, elegant and truthful work.
SFBAC: How did you 'find your calling' as an artist/composer/performer?
Pateras: When I realized that I felt really strange and depressed when I wasn’t making music.
SFBAC: Were you classically trained as a kid?
Pateras: Yeah I started when I was 5, stopped that training when I was 17 because I didn’t want to play other people’s music anymore and walk into that whole myth.
SFBAC: What type/size venues do you prefer to play?
Pateras: As long as the piano sounds good, the PA is killer, the room sounds nice, and the band is cool, I don’t care. And by band I mean orchestra, or playing with Marco or whatever....there are great people in all musical contexts...
SFBAC: What's your most memorable performance and why?
Pateras: Playing solo at Walt Disney Concert Hall in 2006, just after the LA Phil strings played an octet of mine (Chromatophore), was a trip. PIVIXKI Gravissima Launch at the Tote last year was a killer...playing in the oldest monastery in Europe in Catania with Pateras/Baxter/Brown, Music Unlimited 2010 with Thymolphthalein Quintet, or my new violin concerto for spatailized orchestra and 4-channel electronics at Federation Square in Melbourne last November, Now Now solo piano piece from 2009...there’s been quite few good ones....
SFBAC: What artist(s) would you like to work with and why?
Pateras: That’s a secret too.
SFBAC: Thanks again for your time and we're looking forward to your show in a few weeks at the Great American!
