Rhythm in his heart and soul

John Psathas says there's a great sense of interaction in his new work.

Percussion connects with the deep, basic things in us, composer says

Many concertgoers are familiar with the rhythmically charged music of John Psathas, most recently sampled when the Auckland Philharmonia Orchestra presented his View from Olympus with Dame Evelyn Glennie last year.

Rhythm is in his blood, he tells me, and part of his Greek heritage, "brought up on LPs of Greek music that connected my family to their long-distant culture".

In student days, he played in a Greek band and smiles at "the amazing contrast, after the refinement of the music I was studying at university, running out of a lecture to play this fast, rhythmic music for people to dance to.

"It was a cathartic experience."

Next week, some of us may also experience catharsis when Wellington percussion ensemble Strike gives us Between Zero and One, with music predominantly provided by Psathas.

Working with the group has had the composer analysing the appeal of the percussive. "It connects with the very deep, basic things in us," he says, "and because it is more primal than contemporary art music these feelings are more widely shared."

I sense words shuffling around, and Psathas admits he is avoiding the word "accessible". He does confess, though, that he "always wanted to be part of a musical environment shared by many. It matters to me".

He talks of the "cosmic concept" behind Between Zero and One, summing it up as "the in-between time between something existing and not existing, and vice versa".

Parallels are drawn with the continual expansion and contraction of the universe.

The press release talks of what humans might do if the gods were not watching.

"Play is a big part of it," Psathas says, characterising Strike as "manly, with plenty of testosterone, a group that also has a huge amount of fun doing what they do".

This time around, however, the presence of women in the line-up is a "hugely positive aspect, creating a different kind of energy".

Putting it all together has been particularly stimulating. "With the opening and closing numbers I created a big, loud digital recording for them to try out ideas against," he says.

"Then I went away and created a strong trajectory for it all."

Workshopping a piece by fellow composer David Downes brought up unexpected issues. "This involved swinging very large, heavy objects on long ropes and hitting drums with them," he says. "They had to put on crash helmets swinging those things around as they were getting bruised."

He credits visual artist Tim Gruchy as "integral to the whole concept" and is in awe of the God Wall the Australian created, setting up projected images for the musicians "to emerge from and slink back into".

"Director Philippa Campbell worked at sustaining the energy and focus.

"She'd tell musicians to make sure they were looking at another player at certain points, not to look down at another, or move in specific ways."

Psathas is particularly proud of one segment that features the on-screen participation of friends, including singer Leila Adu, guitarist Adam Page and violinist Lara St John.

"Sometimes the musicians on stage seem to accompany them or vice versa," he says. "There's a great sense of interaction, often building up into almost symphonic layers. And with everyone caught in their natural state - the bass player Matt Penman is in track pants in his New York apartment - you don't think about the technology.

"When I'm around my kids at home they're often online. My son will be interacting with beatmasters in Russia or Taipei and I'll go 'Wow'. 'No, Dad,' he tells me, 'It's not wow any more. That's the world'."

What: Strike - Between Zero and One
Where and when: Q Theatre, 305 Queen St, April 8-12