Aether Music: double bill with Time Attendant
Horse Hospital Colonnade, Bloomsbury, London, WC1N 1JD, UK
Music from the aether, time slip and magic, as I perform a double-bill with fellow electronic musician Time Attendant. At the wonderfully atmospheric Horse Hospital, Bloomsbury, London.
Aether Music: Sarah Angliss and Time Attendant double bill
8pm Friday 19 July 2013
Ticket £6.50 in advance, £8 on the door.
Booking details coming soon on the Horse Hospital website.
I’ll be there, charting the uncanny valley with some strangely embodied, singular music, mixing theremin and saw with my electronic hacks and robotic creations. I’m be performing a set that reflects my obsessions with defunct technology, faded variety acts and European folklore. Centre stage will be The Ealing Feeder, my polyphonic robotic carillon, and 1930s ventriloquial sidekick Hugo.
Time Attendant uses samples with analogue pedals and instruments to make shimmering, evolving soundscapes. He shares my fascination with ancient music and is particularly into mediaevalism. Here’s Wisteria of Albion, an arresting work by Time Attendant, available from Exotic Pylon Records. Video by the marvellous Moon Wiring Club:
Here’s the official blurb:
Aether Music: Sarah Angliss and Time Attendant Double-Bill
Horse Hospital, Friday 19 July 2013, Doors 7:30pm
Music from the aether, time slip and magic, in this double-bill from two unusual electronic performers.
Composer and tech savant Sarah Angliss charts the uncanny valley as she brings you her strangely embodied, aethereal music, mixing theremin, saw and Max/MSP with her singular electronic hacks and robotic creations. Sarah’s performance reflects her lifelong obsessions with defunct technology, faded theatre acts and European folklore. Centre stage is The Ealing Feeder (her polyphonic robotic carillon) and Hugo, the head of a 1930s ventriloquist’s dummy, spirited away from a dead magician.
A musician who strives to bring theatre to electronic performance, Sarah is the founder of Spacedog, the award winning trio behind Juice for the Baby. Her work has recently been heard at The National Theatre, where she was commissioned to write an electronic score for Lucy Prebble’s The Effect. She’s also the mysterious ‘obsidian coaxer’ on Today Bread Tomorrow Secrets, Moon Wiring Club’s latest album. After several years focussing on her live act, Sarah is also currently working on a solo album.
“Some pain is cocooned by Sarah Angliss’ music – electronic dongs of the kind that madden as they are supposed to soothe”, Suzannah Clapp (The Observer)
“Like finding a dusty old box in the attic (possibly marked ‘Pandora’)”, Nione Meakin (The Argus)
“It felt like an audio version of The Shining, played on instruments thrown together in sheds somewhere near Bletchley Park.” Fringe Review
Time Attendant’s live sets consist of a series of pre-chosen sounds, explored and improvised around, through the use of a collection of infinitely tweakable analogue instruments. The resulting soundscape, capable of evolving in any direction, can be determined only by the musicians sense of tone and pace. A series of “practised” musical bridges, designed to link each stage of this journey together, and force some kind of structure on the variable nature of this scoreless music. His latest EP, Tournaments, has been released by Exotic Pylon.
“Using the forgetfulness of time- its slipperiness – as a strategy, a way of reclaiming the over-familiar – of injecting surprise and magic back into the world.’ The music of Time Attendant, ‘projects the idea of a better life, a future that has still yet to come into being; gives us glimpses of polished steel lying half-buried beneath the mud.” Kek-w (Hacker Farm)
‘”This is peculiar music from the get go, and Snowdon deftly avoids facile comparison with the slew of Radiophonic-ish electronic records filling up the shelves right now. Rather Snowdon’s particular sound is rooted in tape experiments just as much as the familiar ping of the humble synthesizer, and the fact that these experiments collide in the shape of fully formed ‘pieces’ seems almost like chance. The skeletons of dance music and classic pop are in the sideboard somewhere, rotting, but ‘Tournaments’, like Ekoplekz’s many dusty curios before it feels like something totally singular. Well good.” Boomkat