For a composer not yet 30 (or one over 30, for that matter), Anthony Pateras has developed a remarkable voice. In addition to the formal compositions he has presented on two Tzadik releases (Mutant Theatre from 2004 and the new Chromatophore), he plays in a noise duo, and improvising trio and a "free-grind" project. What perhaps stands out most about the six pieces on Chromatophore is the pianist/electronicist's innovative uses of creating and capturing sound. The three pieces that use electronics (Automatons for 10 voices, 3 violas and electronics; Autophagy, for amplified string quartet, prepared piano and electronics; and JWT for analogue synthesizer) would be expected to contain some alien sounds. But the compositional tools and recording techniques he employs (Pateras is credited as producer) coax surprising sounds out of strings and percussion as well. The title piece, for amplified string octet, has a surprisingly close, claustrophobic sound, making use of the "accidental" noises of bows as much as the instruments' natural voices, and the four-movement 76755 works in quick clusters of small sounds that seemingly should be fairly quiet if not for the close mikes.

None of which is meant to take away from the pure musicality of the record. Far from a collection of odd sounds. Chromatophore is a warm, well-sequenced hour of sound. Tzadik is to be acknowledged for again making Pateras' work available.