Guitarist, composer, and musical dadaism adherent Montresor, aka Cameron Pikó, recently released his third album, Autopoiesis, a wonderfully realized amalgamation of prog-rock, jazz fusion, and tinctures of classical music.
Montresor shares, “The music fuses technical instrumental progressive rock with classical instrumentation: clarinet, bass clarinet, bassoon, piano, harpsichord and marimba alongside guitars, bass and drums. (I) navigate oddly timed rhythms, polymeters, and bitonality thanks to a host of skilled musicians.”
Based in Melbourne, Australia, Autopoiesis is Montresor’s first new album in nine years, following on the heels of two albums released in 2015, Daybreak and Entelechy.
Tattoo.com spoke with Montresor to delve into how Autopoiesis came into existence, his gear, and the experimental nature of the album.
How would you describe your own music?
The catchiest sound-byte I’ve come up with is this: “Music you want to tap your foot to.” Otherwise, “weird proggy stuff” – I’m not a good marketer.
Tell us more about Autopoiesis. Walk us through your mindset as you recorded.
It was such an extended process it’s hard to put it in terms of a single mindset. The bulk of the material came from a very creative songwriting challenge I used to do, February Album Writing Month (or FAWM). It was at a time where I was in the middle of a deep dive of many Rock in Opposition (R.I.O.) bands like Henry Cow and Art Bears, Art Zoyd, Univers Zero, etc., who all utilized modernist classical instrumentation and techniques alongside rock instruments. So it began as an experiment to see if I was able to write in a similar space, and grew from that.
The recording process was lengthy for a number of reasons: life’s ups and downs, work, scheduling, COVID, the list goes on. However, Richard Allison (who I also played with in a tribute band to early-era Genesis), somehow managed to make everything sound spontaneous and consistent in the mix.
With recording taking place over multiple years, rather than a single ‘mindset,’ what ended up happening is this album became a part of me. Sometimes this was a burden, sometimes something to hang onto, sometimes a driving force. It’s very surreal for it to be out in the world now.
To me, ‘Autopoiesis’ isn’t simply an extension of ‘Entelechy.’ It has its own distinctive personality. Do you agree or am I talking nonsense?
There’s more directly connecting my first two albums (‘Daybreak’ and ‘Entelech), than ‘Autopoiesis’ for sure. I think one of the missing pieces is the short-lived band I was in during a two-year stint in London, Piko Cloud Booker. That was a partly improvised thing: King Crimson meets Tangerine Dream plus electric Miles Davis. But, most importantly for this album, it was also where I was properly diving into jazz harmony and modal playing. I had done so earlier, but never to that extent.
And I think that hugely impacted the harmonic sense of this album, giving it a much more distinct flavor beyond just the different instrumentation.
What was the best show you’ve ever played?
I don’t really think about a singular show, per se, but rather moments when everything just ‘works’. When the band is all in sync, and any sense of criticism or self-awareness goes out the window. It happened at the album launch for ‘Entelechy’ back in the day, or when I was performing bass and guitar duties in Entangled (the Genesis tribute band) and we were in peak form. When you’re able to get outside of yourself – those are the best moments, both as a performer and as an audience member.
‘Autopoiesis’ encompasses eight tracks. Is there one track that’s more personal to you, that carries more meaning than the others?
Even though it’s mainly just restating existing themes on the album, the final track means the most to me. I think it’s the best piece I’ve ever written, although interestingly I don’t even play on it. There’s just something about how all the themes intertwine, the creativity in the playing (such as Morgan Ågren’s inspired addition of a shaker during the 5/4 section), and how the whole band sounds together, that make it more than the sum of its parts.
There’s also something about its placement on the album. After the most dissonant pieces –‘Homunculus,’ which is comprised almost entirely of tritones, and ‘The Fallen City’ which is an experiment in bitonalism – the title track comes back with melodies and a way through that dark mess.
With ‘Autopoiesis,’ what was your main focus? What did you really want to try and achieve with this record?
While it really did just begin as an experiment in terms of instrumentation, it does seem to have, unintentionally, something approximating a narrative as you move through the album.
If I were to give this album a concept, it’s something about the slow appearance of atonal/non-traditional harmonic elements cracking and leading to a complete collapse, from which a reincorporation of those discarded pieces occurs. The system capable of rebuilding itself – autopoiesis. It’s not always present in the music, but often there are glimpses of this idea of holding onto something, it breaking through, and you having to rebuild yourself but for the better. I feel like Kit Nicholls’ artwork showcases this really well – there’s a darkness, but hope is springing forth from it. It’s ultimately hopeful, even if a little maudlin.
But you asked about the main focus or intention of the album. None of the above was a conscious intention, it’s just what seemed to come out when the pieces were put next to each other. In terms of intention, it was just about experimenting with different instruments, trying new harmonic forms, and challenging myself.
What kind of guitar do you play? And what amps and pedals are you using?
For the most part, a G&L ASAT Classic Telecaster, my guitar of choice for almost 20 years. However, when needing a bit more sparkle I did use a Strat.
As for amps and pedals…so many different varieties over the years I couldn’t begin to list them. A lot of amp simulation, but also occasionally proper amps. As for pedals/effects, a variety of fuzzes, choruses, a fun little ring-mod phaser in ‘Pyramid.’
I find guitarists often operate in two camps: the absolute obsessives who are meticulous in their search for the perfect tone and who document everything, and those who like to pick up a guitar and play. I am definitely the latter but rely on the former to give me good gear suggestions. Richard Allison, who mixed the album, has such a sensitive ear that I imagine it negatively impacts his personal life. I was able to defer to his judgment in many instances, and it almost always improved my sound for the better
Now, I do want to ask as well, what’s been the highlight of your career so far? Maybe touring or who you’ve played with, something that’s really stood out.
I think being able to play with such high-caliber musicians across the board on this album was a real highlight. It was also a learning experience, particularly when regarding instruments I hadn’t written for before. But everyone who played on the album: Morgan, Gerry, Phil, Vi, Stuart, Chris, Charlie – all brought so much to the table and significantly elevated the material.
Which do you enjoy the most: writing, recording, practicing, or playing live?
Writing – which a lot of the time for me does involve some level of recording but at a far more amateur level. Although it’s not just enjoyment, it’s a compulsion. I struggle to leave an idea unfinished or unfurnished and will spend hours upon hours trying to find my way out of some dead-end I’ve placed myself in. That in and of itself can be torturous, but the solving of that problem is satisfying beyond belief. There’s nothing like it.
What’s next for you?
Dissonant black metal, believe it or not. I seem to often do this sort of pendulum swing in an opposite direction – every so often I need to channel my teenage self and bring some heaviness back into my life. It certainly won’t be released as ‘Montresor,’ but it will be good to flex some different muscles.
