Peter Batchelor: composer, sound designer


for stereo tape • June 1996, 10' • for my parents




"Velocity", by Peter Batchelor, offers a fanciful environment of cold metal, flavored lavishly with quiet power. It seeths with an edgy danger. Its premise of velocity gives rise to a speed animation respective of context, rather than respective of fad or aesthetic bandwagons - a futurist piece.
- Extract from CD review of Maximal Music - II CIMESP 1997 by Jim Phelps

Peter Batchelor’s "Velocity" is also long, in a compilational sense, with just about 10 minutes. The title gives some hints as to the character of the piece, which starts head-on with a sudden rush of turbulent liquids, maybe even water… On a backdrop of a continuous murmur, small, close events take place in rapid successions, making me think of methods developed by Swedish guru Pär Lindgren, who started a whole electroacoustic movement with his "Rummet" ("The Room") (1980), which is still unsurpassed in this sub-genre of electroacoustics – but Peter Batchelor’s contribution is very much up to it too, skillfully applying his version of this background-foreground technique, which indeed is very effective and can be varied in numerous ways. Batchelor also inserts concrete sounds, like doors slamming, subway cars wheezing through tunnels and so forth, but shortly transposing these events into the realm of bent perception, where mirrors bulge and melt in Salvador Dali-related sceneries. "Reality" mixes with "un-reality" in this piece, and now you understand it and now you don’t – and this is one aspect of the electroacoustic tool, which fascinates me most; the gliding, shimmering passage in and out of wack!
- Extract from CD review of Presence II, A Compilsation of Electroacoustic Music by Ingvar Loco Nordin

a 'ballistic rollercoaster ride'
- Extract from CD review of Presence II, A Compilsation of Electroacoustic Music by Ross Bencina

Velocity, by Peter Batchelor, begins in the lower ends of the spectrum, with a single massive ‘wave’, which is then expanded into a complex textural set-up. The spectrum is slowly expanded to include wider bandwidths, alternating between the stasis of textural material and the activity of strong gestures reminiscent of the original opening. As Batchelor himself proposes in the programme notes, this work explores just such type of contrast: the sonification of movement and stagnation. Towards the last quarter of the work, the interaction between the two types of material seems to become more intricate: instead of simply giving way to their counterpart, static and dynamic sections seem to engender each other, to be the cause of their antithetical manifestation.
- Extract from CD review of Presence II, A Compilsation of Electroacoustic Music by Rajmil Fischman (2001).



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