Saturday 28 November 2015, 8pm
Sarah Angliss and Kemper Norton headline the second investigation into Decay taking place in November with Lisa Busby. Sarah Angliss performs Ealing Feeder, her forthcoming album infused with half-remembered stories from Edward Lovett’s Magic in Modern London (1927) and other archival sources. A composer, thereminist and maker of robotic instruments, Sarah uses electronics, ancient instruments and her startling musical automata to explore resonances between European folklore and machines. In this new work, Sarah conjures amulets in the surgical museum, shape shifters, ritualistic magic, vardøgers, fever vans and more.
Kemper Norton's obsessions include the changing landscape, particularly that of Cornwall and Sussex, lost or neglected social history, real and imagined communities and both traditional and modern folklore. His upcoming work is loosely based on themes surrounding the lost kingdom of Lyonesse and the Torrey Canyon environmental disaster of 1967 - both (supposedly) located off the Cornish southwestern coast - and explores ideas of loss, decay, nationalism, horror and vengeance.
PRE-SHOW PERFORMANCE FROM LISA BUSBY IN THE OTO PROJECT SPACE:
Preceding this show, musician, artist and DJ, Lisa Busby, will be performing a special solo set at 6pm in the OTO Project Space ahead of new album ‘Fingers In The Gloss’. An album of new compositions by Busby, ‘Fingers In The Gloss’ uses improvisations on playback media and other simple sound making devices as a basis for songwriting, and explores a territory where melody meets noise and collage, and song fragments float in larger structures.
Ticketholders for Sarah Angliss/Kemper Norton are encouraged to attend and entry is free but please note that capacity for the Project Space is limited to 60 people so admittance will be on a first-come, first-served basis.
Sarah Angliss is a composer, performer and automatist who works internationally, creating work for film, theatre, galleries and the live concert stage. Her highly unusual soundworld combines baroque and renaissance instruments with her own hand-built music machines. She augments the sounds of voices and instruments with DIY electronic effects to create compelling, forward thinking music that echoes the sonorities of the past. Sarah’s terse, vocal score for Romola Garai’s horror Amulet featured at Sundance 2020. Her original sound and music for Eugene O’Neill’s expressionist play ‘The Hairy Ape’ played at the Old Vic, London, and Park Avenue Armory, New York. Her new opera Giant, with a libretto by Ross Sutherland, opens Aldeburgh Festival in June 2023. In 2021 she received an Ivor Novello Award (category: The Visionary Award) for her body of work. “Nightmarishly beautiful - a stunning score” Dan Schweiger, Film Music Magazine. “The most inventive album I’ve heard in a long while”, Simon Reynolds, Four Columns.
Kemper Norton uses digital and analogue hardware and software, acoustic instruments , field recordings and traditional song to explore neglected or original areas of landscape and folklore.
Of his 2017 release ‘Hungan’ The Wire wrote: "A flood of elemental, sensuous sound with limitless powers of time travel... A masterpiece of English music for the ages and for right now.”
Hoofus uses drifting oscillators, cryptic rhythm and tactile interaction between performer and machines to create music of wayward eerie wonder. Drawing on rustic, alienation and the reclamation of the manmade by nature, Hoofus explores the uncanny beauty of the intangible and occult seeping through into our post-industrial world.
