PATHOS TRIO

track-list:
Mega
Cicada
Split
PITY
Monolitos
21600
Home/Gone

tour dates 2023:
Sept. 25: Ibera Academy; Sabaneta, Columbia
Nov. 18: 5th Anniversary Benefit; NYC
Feb. 12: University of North Alabama; Florence, AL
Feb. 27: New York University; NYC
May 17: Stanley Kaplan Penthouse, Lincoln Center; NYC

The forward-looking trio presents six new works from leading composers;
each offering an inward exploration of sound and structure.
The Brooklyn-based Pathos Trio releases its second album ‘Polarity’ on September 15 on the Imaginary Animals label.
Described as having
”elevated themselves into those elite ranks alongside Yarn/Wire, Sō Percussion, Tigue, Iktus and Ensemble Et Al”
by the New York Music Daily, Pathos Trio is comprised of percussionists Marcelina Suchocka and Felix Reyes, and pianist/composer Will Healy.
The group’s commitment to bringing its love of dark, dense, and heavy sounds into a contemporary classical framework is everywhere on the album, as is the group’s passion for collaboration.
‘Polarity’ features new works from composers Ian Chang (Sun Lux), Phong Tran (MEDIAQUEER), Andrew M. Rodriguez (Close Your Eyes), Vicente Hansen Atria, Paul Mortilla, and Clara Warnaar.
‘Polarity’ follows up Pathos’ debut release ‘When Dark Sounds Collide’ by further pushing the group’s boundaries through the use of electronic elements.
Electronic instruments, live and pre-recorded, and in combination with acoustic sounds are heard throughout the recording.
Pathos member Felix Reyes states:
“Working with Ian, Clara, Andrew, Vicente, Paul, and Phong on their commissions for this album has been a real treat for us. We can’t express how much fun it has been to put these pieces together and to collaborate with each and every one of them in bringing their pieces to life.”
From Ian Chang’s buggy, pulsating Mega Cicada to Paul Mortilla’s more oceanic exploration of breathing ‘21600’, the album takes listeners on quite a ride.
Clara Warnaar’s piece ‘Home/Gone’ is inspired by her phone’s auto-correct changing the word ‘home’ to ‘gone’.
She says in her notes:
“That unsettling deconstruction of what we began with gets replaced by something more distorted and complex, but potentially beautiful.”
And suitably, that’s where this album leaves us.