New music from Sarah Angliss
- Camberwell Beauty Sarah Angliss 3:05
- The Bows Sarah Angliss (feat. Emma Kilbey) 5:28
- You Taught Me How to See the Crows Sarah Angliss 5:25
- A Wren in the Cathedral Sarah Angliss (feat. Stephen Hiscock and Colin Uttley) 3:59
- The Messenger (Alexandra Palace Mix) Sarah Angliss (feat. Jenny Angliss and Flora Dempsey) 4:02
- Cow Heart Pin Sarah Angliss (feat. David Bramwell of Oddfellows Casino) 3:50
- Summer's Lease Sarah Angliss 3:00
- The Two Magicians Sarah Angliss 3:13
A composer making dreamlike performances where the total theatre of the sound’s creation is as striking as the music itself. Eclectic music, reflecting a background as a classically trained composer, electronic artist, historian of sound culture and baroque and folk musician.
I want to create sounds that are disquieting and uncanny – music that gets under the skin.
I find it hard to ascribe a genre to my music but would say it’s narratively rich work, with its own identity – one that uses contemporary techniques but is influenced by the aesthetics of Radiophonics and the English folk canon. I’m fascinated by the emotional tug of music with the transparent sonic aesthetic of Baroque chamber music (and of recordings of acoustic folk performers in the 1960s). When performing my work, I’m striving to make ‘music to lean into’, rich with introspective sounds that draw you in because of their fine details and the way they punctuate silence.
I mix acoustic instruments with theremin, electronics, field recordings and Max – and I often build electromechanical machines to play it. In writing these details, I can fall into the trap of seeming to be engaged in a geeky venture, rather than a purely musical endeavour. However, to me, the making of Max patches and machines feels as central to my compositional process as anything I might notate on paper. It enables me to create dreamlike soundworlds that would otherwise be impossible to render. I can use electronics to pull sounds like liquorice, for example, creating unexpected harmonic collisions or moments of stasis. I can use machines, such as my robotic carillon, to play my music at inhuman speeds, creating a miasma of sound – one that has an uncanny physical presence as it’s conjured by a machine on stage.
Thematically, I’m drawn to resonances between folklore and technology – the crackle of the galvanic on the telephone wire. I’m also drawn to contemporary expressions of ancient English folklore in the city. This was the subject of Ealing Feeder (2017), an album steeped with the sounds of sirens, wrestling rings, the Thames and the London tree canopy.
I hope my music is a worthy contemporary expression of timeless desires, fears and dreams.
Music possessed of an eerie instability, a highly atmospheric and compelling listen….A shimmering minimalist masterpiece…feels like a whole universe unto itself brimming with fresh propositions and new directions…Its sedimented layers of research…background colour for the real narrative drama of its melodic invention and ever-surprising sonic twists and turns.”Robert Barry, The Wire, London
Hear Sarah’s album Ealing Feeder
Hear examples of Sarah’s music for theatre
Read about Sarah’s musical collaborations, including albums with other artists.