Andrew Batt-Rawden (b. 1984). I make chamber music and performance art. This involves some writing, some devising, some improv, sometimes performing. My debut album “Seven Stations” was released in 2014 with Hospital Hill. In 2015 I began using live heart rates as tempi in my music compositions, and I’ve written such works for Plexus (for the 2016 Metropolis Festival), Australia Piano Quartet, Jocelyn Ho and Synergy Percussion (40 under 40 project). In 2017, commissions include for the Song Company, Australian Art Quartet and Alicia Crossley. Previous commissions include for the Noise, DirtyFeet... a range of ensembles, companies and instrumentations (more detail here). I can’t describe my aesthetic (have a listen yourself!) but I like playing with a sense of rhythm and time, encouraging new perspectives on reality through revealing or creating obfuscation, and I root my harmonies in the tradition but extend my language to express what is otherwise inexpressible. I love exploring the juxtaposition of ugly and beautiful, masculine and feminine, pedestrian and abstractification and many of my works have a premise in an aspect of identity.
In 2017 I established Vordenker with my creative business partner Ben Hinchley to continue investigating live data feeds (such as heart-rate) in music composition and release an mobile interactive music market place. Also recently I’ve been collaborating with my life partner Dean Walsh on a triptych “The Gaze”, with our first work “Exile Nothing” currently under development. We had a great reception at the Sydney Really Good Sex Festival in early 2017. I’m doing more dance training in various disciplines, and Dean's a major part of that for me.
In addition to my artist career, I’ve been involved in the direction and/or curation of festivals including Vivid @ Seymour, Bellingen Music Festival, Aurora Festival. In 2013 I bought Limelight Magazine to prevent its closure. In 2017 I contributed to the establishment of a charity, Arts Initiative Australia, to support capacity-building projects in the arts. In 2008 I co-founded Chronology Arts to support performing artists, particularly emerging composers, with commissions, performances, recordings and audience building.