VA Appreciation of ancient Greek Music

The Music of Ancient Greece – An Appreciation

“”The music of ancient Greece was almost universally present in society, from marriages and funerals to religious ceremonies, theatre, folk music and the ballad-like reciting of epic poetry. It thus played an integral role in the lives of ancient Greeks. There are significant fragments of actual Greek musical notation as well as many literary references to ancient Greek music, such… Read more →

Ergo Protagonists

Music for Shadows

“Welcome to the Gestalt and its relentless other – to pitch-black hybrids and binaries and their multiples of controled, deft musical noise and palimpsest speech, as each bubbles between the slats of playful overall collapse. Jaan Patterson offers the listener enough rope to gleen his narrative, via eleven neat numbered pieces, each dubbed ‘…from Shadows’. Some will dance, but only by the neck. Compulsive, structured and never less than going places. Recommended.”

-Anthony Donovan

Another review by Robert L. Pepper (PAS Musique) can be read on his page:


Jaan Patterson & Friends (200th suRRism-Phonoethics Release)

            Jaan Patterson & Friends – The Interviews Released 18. April 2015 by suRRism-Phonoethics (sPE_0200) Exquisite Corpse Cover A (1, 2 ,3) by: Vol.1 by Bernard Dumaine/Immy Smith Vol.2 by Bernard Dumaine/Janelle McKain Vol.3 by Bernard Dumaine/Ton Haring Cover B Painting by Bernard Dumaine This compilation is based on cut-up samples that had been arranged by Jaan Patterson.… Read more →

Masters Remastered

My track 05 for Éric Alfred Leslie Satie has made it to the honorable mentions!

AG Davis & Jaan Patterson

‘Headless Poets & The Album That Composed Itself’
by AG Davis & Jaan Patterson!

i won’t speak no more…

“in the thrust
of bilingual gospel
we speak lower and lower
about this tomb and about our trust
by marching in language
to be cleansed
to behave
and at last
to slip away…” – AG Davis

Crystallization of the Quantum Availability


Review By Jared C. Balogh

“First off Jaan Pattersons music is always great. Been a follower of his work for many years. Every album is unique, fearless, interesting and challenging. He is a master at transferring the realms of his mind into the reality in which we call music. “Crystallization of the Quantum Availability” again falls under this description. It is always hard to describe his music but that is what I love about his work. The only description I can think of for “Crystallization of the Quantum Availability” is film score music created by a mad genius that has isolated himself from society to create visceral and uncompromising sounds that would stand the brutal test of time for infinite millenniums and that consciously frolics on the thin line of sanity and insanity.” –
Jared C. Balogh

Review by Igor Jovanovic (LEZET)

“Jaan Patterson’s music explodes in universal appreciation of music and its many languages. He embraces, nourishes and transcends many traditions and anti-traditions reaching a new plane of musical existence, looking at music with a fresh pair of ears. Whether it be spoken-word, ambient tapestries, the reconstruction of classical or folk music or something entirely different, he is the master of putting music above his artistic ego and all the other conundrum pertaining to music, he focuses on transmitting the essential drive in music that today’s music industry would find very little use for. A modern-day Moondog, that’s what Jaan Patterson is” –Igor Jovanovic

Minute Mad[e]


Luther Blissett
Jeremy Gluck & Jaan Patterson
undRess Béton & Lezet
Reve Steich
Yoshihiro Kikuchi & Jaan Patterson
Syringes’ Feast (Anton Mobin, Jaan Patterson & Patrizio Pica)
William Davison & Jaan Patterson
undRess Béton
The Implicit Order & undRess Béton
ION & undRess Béton
Seiei Jack, Jaan Patterson, Jeremy Gluck
Jurica Jelic, Jaan Patterson
Syringes’ Feast (Anton Mobin, Jaan Patterson & Patrizio Pica)
Jaan Patterson
André Pissoir
undRess Béton and Hal McGee
Hopek Quirin / Jaan Patterson
undRess Béton & Hal McGee
Runar Magnusson, The Crying Cowboy, Jaan Patterson
Dada AG & Jaan Patterson
Anthony Donovan, Hopek Quirin, Jaan Patterson
undRess Béton
Clutter & undRess Béton
Vziel & undRess Béton
Binary Slim, André Pissoir, John Juan
undRess Béton
Alessandra Celletti & Jaan Patterson
Adrian Beentjes, Anthony Donovan, Jaan Patterson
Erick Diego, Jaan Patterson
Jochen Arbeit/Vania Rovisco/Jaan Patterson
Otto Von Rhinau & undRess Béton
Bryan Lewis Saunders & Jaan Patterson
Darius Greene & Jaan Patterson
undRess Béton & Stalaktos
Herr Penschuck & Jaan Patterson
Ohne Worte

undRess Béton – ‘Stuckhousing Quantum Gums (Hypocnemis Rhythms)’

This project ‘Stuckhousing Quantum Gums’ by undRess Béton,
composed for Good Ship Glossolalia Series by Resonance104.4fm — London’s arts radio station, is of 60 minutes in length & provides detailed research on Hypocnemis Rhythms.


“Welcome to Jaan Patterson’s playful dystopian radio; whose Dada and I-Ching infected station-dial alights upon portmanteau scenes of horror-Punk and appropriated speech, where fractured field recordings and malevolent synthesisers prowl. Patterson’s work is, by now, vast and numerous, and goes way beyond the usual slue of blithe laptop cut-up and Conceptualese. This is feral electronica at its best.”

-Anthony Donovan (Murmurists)

undRess Béton – ‘Tarentaliogy Defloration’

Review by Lee Kwo:

“Under Notorious SONIC effects/
undRess Béton
Tarentaliogy Defloration

this music these sounds and noises these orchestration of often intangible moments of hellucinatory sound images are at the edge of the abyss of catastrophe/The GAP between the synapse firing its chemical reactions flooding neuron blood and cells with reactions and fractures of memory from interstellar voyages violates the perspective of expectations to hear the ordinary beats and re-mixes of contemporary music compositions/ So what happens when we turn on the machines of Jaan Patterson and giving them no instructions set sound information free to express its economy of circuitry?/ What happens indeed/ In jaan’s own words ” I provide technical support of instructions of bypassed spontaneous happening compressed into smoking illusions of rampant dissonance in which the impossible music is the basis of my intention and being/ I document the environment and express the myriad of found collages of sound and feed them into the machine to see what happens/ Improvision and extroversion are they only limitations I bring to the creation of my polyphonic compositions” I make my inner journeys that I can only measure with my emotions “/ If information is pattern then randomness is non pattern/ the complexity of these tracks combine the two phenomenon in a paradox leading order/disorder to a greater level of complexity/ jaan’s music is a series of informational pulses creating intense anxiety that erupts when the perceived limits of the ear are breached/
I am becoming human sampler so as to undermine and colonise from within the dominant icons of music culture and then to deform and distort them into becoming the strange and enigmatic/ Sound bordering on catastrophe threatening to rupture the smooth and unbroken surface of the otherness of music/ To morph with my machines into the rampant technique of synthetic sonic dissonance has infinite consequences and exposes the ear to the inflections of the space of sacrificial violence of noise becoming sound/ a trajectory of hellucination/ Intervals and strange swarms of silence/ each stop or interval enacts a closure of the composition that is both unexpected and unintended/ The machine begins and ends under its own volition/ I am a servo mechanism flicking switches and pushing sliders/ Indifference as a conceptual cognitive act drive sounds to pass through the chaotic perilous oscillation that something else is about to violate the sensibility of the as yet unheard/ There is a tension of expectation which loops through tracks creating a coherent aesthetics of technique/ What cannot or does not want to be heard?/an impatience with speed the taste for the velocity of the syntheziser at times is overwhelming/ accelerating into the imaginary future of cyborgs and alien beings/ The syntheziser illuminates the molecular structure of the tones and notes being executed/ We often hear what is happening at the sub atomic level/ The music of the Spheres is almost audible/ In Stellar Gum we hear the slow drone of the machinic post industrial vocal datatrash fading in and out of atomic solary latancy/ A throbbing depth anonymous until now seeps away into a leakage of ruptured attack and decay/ Sounds collide and collude in symbiosis of notational conspiracy/ the ear is stretched to the limits of hearing/unable to escape the assault of sound emeshing in a hovering fade out of a single enigmatic signal/ In track two Steve Handsome Bite piano traces out the melodic foreground to creshendo of strings slashing the track moving it towards reckless percussive interruptions/ and becoming more than an excess of locomation dies away to metallic percussive edge of resonance with swarm of energy which haunts the objects of performance/ Re-sounding drums flood the aural landscape with explosive dynamic of analogue floating time within pulsed digital time/ Exist Not/ multiple snare repeats echo chamber of marching feet who have long been silent salvaged from the wreckage of electric circuits/relies on insistent beats in the distance of resonant bass fills the sonic mechanism of noise reproduction/ Menda Is Back/ Cuban back beat radio signals the womens voices call from across the Atlantic ocean to the Islands of unknown acoustic terrain under the enigma of transparent distortion fills the gap of becoming noise ratio is zero intensity cut-up by oblivion of space empty of velocities circle of synthesizer codes/ Prudentia of Null/ drowned in the matter of swarms of synth tones fill the empty space with howl of electric human humm mantra chants the hieroglyphics of ancient silence wrought eating away the rust of elastic voice stretched to the depth of anonymous contrapuntal intoxication of rhythmic interludes/the poetry of motion/ Cluster of Grapes/ The elements of the dream I would like to sleep to stop the conscious rhythm of the preceding nights dream and will it be continued tonight /Violins falling in the moonlight not exposed to greater degrees of erratic drum machine to chorus of heartbeats remembered during the hours of waking/ Son of Doing/Gypsy violin solitude to Road Debris of cars on the autobahn/we recieve a message of noises and we respond in codes of electric current under trombone lead rhythm method taps out timing to point of delirium/ the refuse of the unknown sounds accelerate into an unknown future of crashnoise and empty spaces of limitation murmuring collapse of drum beats strike at the strings of cello/Tarentaliogy Defloration/
Locomotive percussion overwrought by loops of sonic drones into blinding scales of sun/
a taste for envelope follower to decay into thirst for orgy of blasted love collides and nothing is prohibited on the celestial paino noisy as the body itself settles as warning signs to escape impact on the suffering ears limit to jagged edge of analogue dialogue/
It just never begins/”