[6] Pateras started tertiary education at La Trobe University,[4][5] studying composition with Graeme Leak, Neil Kelly and John McCaughey.

[13] For William 37 (November–December 2001) at La Mama, Pateras worked with Jeremy Collings on the soundscape, which Kate Herbert of The Herald Sun reviewed, "[it] has some appropriate and interesting moments but is often too loud, intrusive and poorly placed.

[18] Pateras' early works include the percussion solo Mutant Theatre, written for Vanessa Tomlinson and premiered in March 2001 at the Melbourne Museum.

[22] The piece was selected as a Recommended Work at the International Rostrum of Composers in 2004,[23] and in 2006 was performed at Walt Disney Concert Hall by the Los Angeles Philharmonic, conducted by Brett Dean.

[26] AllMusic's François Couture described the album, "there is no real theme, genre, form, or instrumentation running through the six works... except [his] creativity and broad palette.

[27] It brought together two groups: Clocked Out (Nozomi Omote, Vanessa Tomlinson) from Brisbane and Speak Percussion (Nat Grant, Peter Neville, Matthias Schack-Arnott, Eugene Ughetti) from Melbourne.

[30] The judging panel described Flesh and Ghost, as "a wonderfully epic piece where the composer utilises the 12-player percussion ensemble beautifully, creating a one sound world and a lovely sense of texture.

"[31] Pateras provided the score for the psychological thriller film, Errors of the Human Body (2012), directed by Eron Sheean and starring Michael Eklund, Karoline Herfurth, Tómas Lemarquis and Rik Mayall.

"[34] The piece featured the composer on a Revox B77 tape recorder placed in the centre of the concert hall, with AAO members spaced about in six groups.

The Sydney Morning Herald's music critic David Vance noted "As the sound sources migrate from skins to metal, wood, and glass, individually or in combination, so too does the experience of these changing sonorities.

[42] Musica Sanae is a collaboration of three European realities: Phonurgia, Naples, In Situ Foundation, Sokołowsko (Poland) and NK Projekt, Berlin.

"[42] Pseudacusis, which was later issued as an album, is based on a live performance, on 27 September 2019, at the Sacrum Profanum Festival in Małopolska Garden of Arts, Kraków.

[43][44] Ben Harper of Boring Like a Drill reviewed the album, "By the latter half of the work, you’re wondering how much of the frenzied, stuttering percussion solos are happening in front of the audience and whether you hallucinated Pateras playing some cocktail lounge jazz rhapsody in amongst it all.

"[62] Their second collaborative album, Flux Compendium (March 2006), had Couture observe, "the two electronicians toned down the harsh noise in favor of a more discreet – and intriguing – sound palette.

It seems these two can build impromptu compositions out of any type of sound: breath, belches, coins, laughs, doors, and yes, even pure electronic tones.

"[63] End of Daze, his third album with Fox, followed in January 2007, which Couture felt was, "chock-full of exciting experimental music, and nicely sequenced into a fun yet challenging listen...

[65] Western Grey supported the launch of Pateras' album, Malfunction Studies at Footscray Community Arts Centre in July 2002.

[66] Cyclic Defrost reviewer, Bob Baker Fish observed that on the album, "the trio utilise a number of different techniques, yet repeatedly arrive at a similar minimal, almost silent location, which allows the individual sounds an additional emphasis or resonance.

"[67] He elaborated: What rapidly coalesced in our discussions was to form a group combining traditional acoustic instrumentation to explore expanded sound-worlds with a conscientious collective listening dynamic, coherent compositional spontaneity and a total commitment to free improvisation.

[69] In an interview about the album, Baxter stated, "these three very familiar acoustic instruments, each with traditionally unique sonic identities, have been approached by us in ways where their sounds become very unfamiliar.

[75] Chicago Reader's Philip Montoro described Pivixki as grindcore piano, which "plays a futuristic, fractalized rendition of the style, a la Gridlink or Atomsmasher.

[77] Their show in San Francisco in 2011 was reviewed by Politusic's writer, who felt "Just when you'd think the entire thing was about to dissolve into total chaos, they would snap together in an instant and transform the mood into yet another new form.

"[78] In 2013 Pateras, who was then-based in Berlin, collaborated with Natasha Anderson, Sabina Maselli and Erkki Veltheim on a large-scale audio-visual work, Another Other, for the contemporary opera company, Chamber Made.

"[83] The second album by the group, Necroscape, appeared in April 2020, with Pop Matters' Justin Vellucci declaring, "[it] is not a record of hits; instead, it unfolds in Bizarro chapters as a catalog of misses... [they] flesh out some interesting sonic touches and have a grasp on ambiance, sure.

"[89] In an interview with The Quietus' Patrick Clarke, Pateras detailed his approach: I feel that there are two poles you oscillate between as an artist, and they interact differently depending on the person.