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Dorothy Wave, Field Marshall Stack,
General Midi, Master Fader, The Count In
Background information
Origin Liverpool, United Kingdom
Genres All
Years active 1998–present
Labels Post Music
Associated acts Kling Klang (band), Zombina, Outfit (band), Stig Noise, Hammerfist, Right Right Hand, White Blacula, Lovecraft (band), Horsebastard, Royal Wedding
Website apatt.com

a.P.A.t.T. (no set pronunciation) is an experimental organizational form best known for avant-garde music and multimedia works. They are notable for compositional philosophies that loop personal and social experiences of becoming musical in and out of their works, in so doing often producing complex and confusing scores. This is visible throughout all a.P.A.t.T. operations, public performances and releases.[1] The letters a.P.A.t.T. might be related to the compositional philosophies involved in a.P.A.t.T., which have previously involved deconstructions of Western popular music, or complex conceptual pieces composed around a theme, theory, plot, or event.[2][3] Other work involves slap stick humour, annoyance, frustration, and entertainment, with individual members disarming themselves in front of audiences through the use of a white uniform dress code.

Emerging in 1997/1998, a.P.A.t.T. spent the first four years stylizing developing a public front. From 2002, they performed more regularly (running a.P.A.t.T. Island' upstairs in the Zanzibar Coffee House), released EPs and albums through various labels and distributors. In recent years a.P.A.t.T. has collaborated on public performances and other multimedia works.

Albums like 'Black & White Mass' released in 2008 and other formative releases involve the collective sampling vigorously from popular culture, everyday life, and musical and social imagery, often incorporating samples and re-compositions of common musical life in intricate webs of reference.[1] 'Black and White Mass', an album described as a "Mad hatters tea party for avant-rock heads",[4] was BBC Radio 1 DJ Huw Stevens' 'Album of the Week' in 2008. a.P.A.t.T. are peculiar in that musical products released are generally at least 5 years old, while the members play 'new' material at live performances. While they identify themselves as a difficult to define musical entity that sits somewhere between Abba and Zappa,[5] obvious influences come from early British Progressive bands and artists like The Residents whom members have previously publicly noted enjoying. They tour about once a year, recently in France, Germany, and Switzerland, and premiered at the opening of a performance based arts initiative in Lille, France, in December 2010.[6] Their last tour, in Autumn of 2011, was with Secret Chiefs 3, and a.P.A.t.T. will be touring with Secret Chiefs 3 in Autumn 2012 too. A new album- Ogadimma - was released in 2011, though this was compiled of music that is at least 5 years old. The collective continues to compose new material, play live performances and stage public events, and members are deeply involved in North West England music.

The a.P.A.t.T. Orchestra, an orchestra of no fixed size, style of performance, or mode of production, has recently experimented with participatory musical experiences, and with spatiality and musical composition.[7]



The current members of a.P.A.t.T. originate from Liverpool, England, and North West England. a.P.A.t.T. became a musical entity in 1998, when General Midi and Field Marshall Stack wrote some words on a cassette tape they had recorded sounds upon after becoming disassociated with bands and 'songs'. Their intention back then was to make, find, imagine, and create 'secret music', and to learn more about their instruments, constraints and possibilities experience. For much of the early years, the members concentrated on developing their personal knowledge and public image, developing the performance image/sound that endures today, learning new/old instruments and cutting edge technological systems, and developing their organizational and compositional philosophy. Further down the road, a.P.A.t.T. felt comfortable enough to release music and ideas to the public in the form of EPs and albums. Around this time they began work on a feature film, and a documentary about a.P.A.t.T.; each of which seemingly embodies the compositional and organizational philosophies involved with a.P.A.t.T. They also performed much more, becoming well known in the U.K. music scene. 'Members' have come and gone since a.P.A.t.T. emerged, and during this time the organizational form has been able to accommodate these changes and continue to diversify into new music and multimedia spaces. Today, the a.P.A.t.T. includes musical and non-musical members, and is involved in multiple projects and collaborations simultaneously, more or less musical in nature.


Singles, Eps[edit]

  • (e.P.) CD- Self released (2002)
  • Fre(e.P.) Download - Self released (2005)
  • a.P.A.t.T. vs Stig 12" - Vinyl CAA (2008)
  • Paul the Record 12" - Upset the Rhythm (2010)


  • (L.P.) - Lowsley Sounds - CD (2004)
  • Black & White Mass - Pickled Egg - CD (2008)
  • Ogadimma - Postmusic - 12" - Download (2012)


  • Ch(e.a.)P -(2006)
  • Bulk Dump -Jan 2010 (2010)

Multi Media[edit]


  • 'Quartet' - Large scale installation/performance conceptualized around notion of self-reference
  • 'Nosferatu' - Live Improvised performance re-composing sound track to the film 'Nosferatu'


  • 'Nosferatu 2' - Live semi-improvised performance re-composing sound track to the film 'Nosferatu'


  • Nosferatu 3' Live score soundtrack, broadcast live for BBC Radio


  • 'Purgatory' Live dramatization of music
  • 'In C' - Performance of composition by Terry Riley; 31 strong ensemble experiment with venue specific composition and performance


  • 'Variations I' - John Cage; performed with a.P.A.t.T. Orchestra at Walker Arts Gallery, Liverpool
  • 'Pendulum Music' - Steve Reich; performed with a.P.A.t.T. Orchestra at Walker Arts Gallery, Liverpool
  • 'Clapping Music' - Steve Reich; performed with a.P.A.t.T. Orchestra at Walker Arts Gallery, Liverpool
  • 'Meeting Points' - Richard Harding; A 25-strong a.P.A.t.T. Orchestra constituted by undetermined instrumentation and involving the Liverpool Walker Art Gallery's historic architecture in musical composition and audience experience
  • 'The Human Stain Part I' - a.P.A.t.T. Special
  • 'The Human Stain Part II' - a.P.A.t.T. Special
  • 'The Human Stain Part III' - a.P.A.t.T. Special
  • 'Sound Relay' - a.P.A.t.T. Orchestra & Ensemble 10/10, Jennifer Watson; 50 plus ensemble exploring performance and audience spatial experience, and culminating at the Tate Gallery, Albert Dock, Liverpool
  • January 2010 European Tour


  • 'The a.P.A.t.T. Orchestra presents... Musical Settings Part 1 - On the Earth' - Sefton Park Bandstand, June 2011.

Cornelius Cardew's 'The Great Learning, Paragraph 7' Premiere of Richard Harding's 'Turkish Delight' European Premiere of Alan Courtis' (Argentina) 'In-Formed Music' for Newspaper Ensemble

  • 'The a.P.A.t.T. Orchestra presents... Part 2: Into the Deep World Museum

Collaboration with Ex-Easter Island Head - Music for Moai Hava Ben Fair - Repetition and Change Philip Glass - Music in Similar Motion

  • 'The a.P.A.t.T. Orchestra presents... Musical Settings Part 3: Beneath the Ground Lutyen's Crypt, Cathedral of Christ the King, Liverpool

Terry Riley's 'In C' Jonathan Hering's 'The Spiral Staircase' – World Premiere Howard Skempton's 'Hope Street Melodies' – World Premiere plus 'Lament' and 'Air Melody' /Commissioned piece

  • 'The a.P.A.t.T. Orchestra presents... Musical Settings Part 4: Beyond the Physical

Interpretations of the animated graphic scores of Shane Mc Kenna, /Commissioned pieces A live soundtrack to Craig Sinclair's animated film Blunderbuss Karlheinz Stockhausen's Gesang Der Junglinge

* European tour with Secret Chiefs 3


  • The a.P.A.t.T. Orchestra presents...Gavin Bryars' The Sinking of the Titanic
  • European tour over 34 dates and covering 14 countries with Secret Chiefs 3

2013 a.P.A.t.T. Observed Music


External links[edit]