A composer working with ancient instruments, electronics and robotics.
Performs live and creates music for film and theatre.
“Music possessed of an eerie instability…a whole universe unto itself brimming with fresh propositions and new directions…a shimmering minimalist masterpiece”
“The most inventive album I’ve heard in a long while…a testament to Angliss’ imagination and sheer musicality”.
“Poetic…drifting but focussed compositions….their beauty is pointed and hard-won.”
“A sound of broad depth…a necessary bout of fury”
I’m currently completing the score for Giant, an opera blending voices with viola da gamba, clavisimbalum and electronics, Giant is about the betrayal of Charles Byrne, a man whose corpse was stolen, dissected and put on public display against his will. Supported by Snape Music and the Jerwood Charitable Foundation.
In the pipeline for 2021, ‘Buying the Wind’ is a timely collaboration with a music ensemble and poet Hannah Lowe. Through music and words, we’ll be exploring the UK’s deep connection with wind and tide – elemental forces that make up our country’s defiantly porous border. At the heart of this project is a new piece for tenor voice, string quartet and live electronics, under development with generous support from the PRS for Music Foundation. The title refers to the ancient sailors’ superstition of throwing a coin into water to assuage the spirits and bring a fair wind.
Exploring the Doomsday Clock and ‘the new abnormal’ in The Wire issue 427
I compsed sound and music for a new production of Eugene O’Neill’s Expressionist masterpiece The Hairy Ape. At The Old Vic, London, and Park Avenue Armory, New York. Directed by Richard Jones. The Hairy Ape is a tale of class, revenge and the shock of modernity, set in the stokehole and upper class decks of a 1930s ocean liner and in the streets of New York.
Two arts documentaries revealing some little-known histories of sound culture. In ‘Echo in a Bottle’ I explore our enduring and sometimes deathly fascination with the echo. In ‘The Bird Fancyer’s Delight’ I reveal how captured songbirds were trained to sing fashionable melodies in homes before the advent of the phonograph.
Funded by the Daphne Oram Trust, Anomie Academic have republished Daphne Oram’s An Individual Note: of Music, Sound and Electronics – a book that’s been out of print since 1973. I’ve written an introduction to the reprint, giving an overview of Oram’s life and her pioneering work in the early days of the BBC Radiophonic Workshop and in her home studio in Tower Folly, Kent.
In 2018 I also composed a live piece for voice and Oramics Machine – Oram’s pioneering ‘drawn sound’ machine. I performed this live with singer Sarah Gabriel using a mini-Oramics machine built by Tom Richards from Oram’s original notes and drawings.
Photo of theremin performance by Lucy Cage