Published sheet music

Recordings

Windshift

Michael Atherton

Michael Atherton is a writer, composer and educator from Sydney, Australia. Originally born in Liverpool, England, to Welsh-Irish and German parents, his family later migrated to Australia in 1965. Moving to the suburbs Read more
Michael Atherton is a writer, composer and educator from Sydney, Australia. Originally born in Liverpool, England, to Welsh-Irish and German parents, his family later migrated to Australia in 1965. Moving to the suburbs in La Perouse, he grew up in a mixed, multicultural community, where he fostered friendships with existing indigenous members and Iberian migrants. His formative migrant experience and his curiosity about vernacular, as well as notated music, led him to study music formally where he was attracted to ethnomusicology. From a self-taught guitarist to an accomplished multi-instrumentalist, Michael’s recorded output spans many different genres and styles – he was a member of the Renaissance Players, an early music group; Sirocco, a pioneering cross-cultural folk group; and Southern Crossings, an innovative ethno-classical ensemble.

By 1990, he had moved beyond his earlier musical endeavours, and away from Australia, with ‘Windshift’ seeing him draw on resources from the Asia-Pacific and Europe. With an impressive arsenal of instruments, such as the didjeridu, hurdy gurdy, kulintang, saron and jaw harp, to name but a few, Michael adds intense colour to the recordings using samplers, synths and modulating effects. Recently remastered by fellow Australian-based musician and engineer, Mikey Young, and visually re-imagined by Glasgow-based artist, Jamie Johnson, ‘Windshift’ is now presented once again by Infinite Expanse with a first-time reissue on vinyl.
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Melismos

Michael Atherton

Realised by Michael Atherton
Performed by Michael Atherton (pandourion, kithara, trigonon, syrinx, voice), with Mina Kaniridis (voice, seistron, kymbala) and Philip South (tympanon, kymbala, seistron)
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Radum Scadum

Michael Atherton

Original and traditional - zany, quirky, multicultural children's songs and dances for voices, guitar, flutes and percussion
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Australian made, Australian played

Michael Atherton

All original compositions and improvisations by Michael Atherton, except for: 'Pour mon coeur' (anon. 13C France); 'English Dance' (anon, 12C); 'Baloo baleerie' (Scottish folksong); 'The Blackbird' (Irish air); 'Moreton Bay', Australian traditional folksong.
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Solo with Instruments

Michael Atherton

The first solo album by multi-instrumentalist, Michael Atherton in 1986. It was originally released as a vinyl LP. Solo with Instruments was recorded inside a 14-storey fire escape of the Library Tower building at the Read more
The first solo album by multi-instrumentalist, Michael Atherton in 1986. It was originally released as a vinyl LP. Solo with Instruments was recorded inside a 14-storey fire escape of the Library Tower building at the University of New South Wales. Near and distant recordings were made of improvisations influenced by medieval European and middle eastern music. The project aimed to restore fidelity to sound recording by avoiding the equalisation of the original signal. The equipment in the recording included 2 Schoeps Collette series omni capsules in a 'dummy head' arrangement linked to a Sony PCM F1 recorder. No edits were made to remove minor blemishes in the performances, something that has become the norm in music production. The improvisations were aimed at sounding the space. For example, in 'The piper's laugh', I began playong on the fourteenth floor. I descended slowly to walk past the microphones on the eighth floor and continued down to the first floor. The recording captured the music as it was shaped by the entire reverberant space.
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Surface, Texture, Line

Michael Atherton & Garth Paine

In late 2005 Michael Atherton and Garth Paine, colleagues at Western Sydney University, formed a duo called Sync, to focus on the interface between acoustic and electronic music. Acoustic instruments and live electronics, Read more
In late 2005 Michael Atherton and Garth Paine, colleagues at Western Sydney University, formed a duo called Sync, to focus on the interface between acoustic and electronic music. Acoustic instruments and live electronics, including the processing of live acoustic input, cross synthesis and synthesis artefacts used performance collaboration to contextualise ancient and modern musical languages in a single form. Instruments including the wooden hurdy-gurdy, bronze gongs, electric guitar, waterphone, didjeridu, percussion and flute provided the sonic foundation for complex live electronic processes. The aim was to generate diverse timbral environments responsive to the acoustic input, yet simultaneously independent.
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