Ealing Feeder
by Sarah Angliss
iansimmons
pavel_klusak
Kate Laity
Bruce Levenstein
Hal Dean
Mike Winship
Bartek Chaciński
AfroBase
metawyrd
Matt Davignon
mark andrew stjohn
DannyRind
Robin Webb
Brian Lawlor
Michael Kemp
Jennifer Lucy Allan
Wolfgang Schmidt
John Lawson
Zatapathique
DJF
Roreek
Reed Lowrie
yslyslyslhdlyslylyslyz
patiocean
marcfabian
stevedh
theskinnyfists
Stephen Hammond
nic-serenity
A Listener
Solipsist & Co
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
£7 GBP or more
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Compact Disc (CD) + Digital AlbumOne of a short run of beautifully printed CD-Rs, in a gatefold card case, designed by Steve Johnson. Will be sent on the album release date: 20 April 2017.
Includes unlimited streaming of Ealing Feeder via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 2 days£10 GBP or more
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1. |
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2. |
A Wren in the Cathedral
03:59
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3. |
The Bows
05:27
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4. |
Ventriloquist
02:50
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5. |
Camberwell Beauty
03:04
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6. |
The Two Magicians
03:12
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7. |
The Fancy Cheese People
02:21
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8. |
Cow Heart Pin
03:49
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9. |
Caul (Vardøger)
01:27
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10. |
Sky Bullion
04:06
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11. |
Fever Van
02:13
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12. |
about
London, a modern edifice on a mediaeval footprint, is the blueprint for Ealing Feeder, a steely, unsettled love letter to the city.
Devised over many years of performance, some tracks will be familiar to people who’ve seen Sarah's live act, others are entirely new. A Wren in the Cathedral, set in Limehouse, collides electron theory with city birdsong and Hawksmoor’s architectural formalism. Cow Heart Pin is inspired by a London butcher in the 1920s who impregnated a desiccated heart with nails to curse a rival. The Bows recalls a transfiguration myth on the River Thames. Sky Bullion reflects on some of the more venal forces shaping the city skyline today.
This work - the first to distill Sarah's solo set into an album - reflects the ecletic nature of her music making. An electroacoustic composer with a deep interest in the history of electronic music, as a teenager, Sarah cut her teeth as a live musician in folkclubs. Her formal musical education was in Baroque and Renaissance music, yet she builds and performs with her own robotic inventions, viewing them as a theatrically compelling alternative to the laptop. Through music, she explores resonances between folklore and early notions of telecoms and machines.
Among these tracks, you'll hear examples of augmented theremin technique (for instance using theremin to control birdsong), robotic carillon (an instrument Sarah designed and built to play riffs at inhuman speeds) and her unusual take on the loop pedal. This variant stretches every strand of sound subtly as it plays, transforming the most consonant music into something more angular as it makes beguilling, unexpected musical collisions - something with a family resemblance to Renaissance music.
Devised over many years of performance, some tracks will be familiar to people who’ve seen Sarah's live act, others are entirely new. A Wren in the Cathedral, set in Limehouse, collides electron theory with city birdsong and Hawksmoor’s architectural formalism. Cow Heart Pin is inspired by a London butcher in the 1920s who impregnated a desiccated heart with nails to curse a rival. The Bows recalls a transfiguration myth on the River Thames. Sky Bullion reflects on some of the more venal forces shaping the city skyline today.
This work - the first to distill Sarah's solo set into an album - reflects the ecletic nature of her music making. An electroacoustic composer with a deep interest in the history of electronic music, as a teenager, Sarah cut her teeth as a live musician in folkclubs. Her formal musical education was in Baroque and Renaissance music, yet she builds and performs with her own robotic inventions, viewing them as a theatrically compelling alternative to the laptop. Through music, she explores resonances between folklore and early notions of telecoms and machines.
Among these tracks, you'll hear examples of augmented theremin technique (for instance using theremin to control birdsong), robotic carillon (an instrument Sarah designed and built to play riffs at inhuman speeds) and her unusual take on the loop pedal. This variant stretches every strand of sound subtly as it plays, transforming the most consonant music into something more angular as it makes beguilling, unexpected musical collisions - something with a family resemblance to Renaissance music.
credits
released April 20, 2017
Ealing Feeder is composed, performed and produced by Sarah Angliss using theremin, recorder, saw, spinet, robotic carillon, field recordings and MaxMSP. With thanks to the following guest artists:
Jenny Angliss – vocals (The Messenger)
David Bramwell of Oddfellows Casino – vocals (Cow Heart Pin)
Flora Dempsey – spoken word (The Messenger)
Emma Kilbey – spoken word (The Bows)
Stephen Hiscock – percussion (A Wren in the Cathedral, The Fancy Cheese People, Sky Bullion and Fever Van)
Colin Uttley – spoken word (A Wren in the Cathedral, Ventriloquist and Fever Van)
Ealing Feeder is composed, performed and produced by Sarah Angliss using theremin, recorder, saw, spinet, robotic carillon, field recordings and MaxMSP. With thanks to the following guest artists:
Jenny Angliss – vocals (The Messenger)
David Bramwell of Oddfellows Casino – vocals (Cow Heart Pin)
Flora Dempsey – spoken word (The Messenger)
Emma Kilbey – spoken word (The Bows)
Stephen Hiscock – percussion (A Wren in the Cathedral, The Fancy Cheese People, Sky Bullion and Fever Van)
Colin Uttley – spoken word (A Wren in the Cathedral, Ventriloquist and Fever Van)
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about
Sarah Angliss London, UK
Performer, composer and robotic artist colliding electronics and robotics with English folk and ancient music. Theremin, recorder, robotic carillon, saw, Max and more.
