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.
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, automatist and live performer whose music explores resonances between English folklore and early notions of sound and machines. Sarah’s particularly known for her skills on theremin and recorder and for the robotic instruments she designs and builds to work with her on stage. Sarah’s an eclectic musician - an electroacoustic composer and robotic artist, formally trained in Baroque and Renaissance Music, who cut her teeth as a performer in English folkclubs. Sarah also composes for live film scores and theatre, most recently for Eugene O’Neill’s expressionist play ‘The Hairy Ape’ (at The Old Vic, London, and Park Avenue Armory, New York, directed by Richard Jones). She’s currently composing an electroacoustic chamber opera on the life and death of Charles Byrne (with librettist Ross Sutherland, for Aldeburgh Music and the Jerwood Charitable Trust). With percussionist Stephen Hiscock, Sarah will be performing highlights from her new solo album Ealing Feeder. “A highly atmospheric and compelling listen…drawing on a dense skien of real pasts and imagined futures to talk lucidly and provocatively about the present...the record feels like a whole universe until itself, brimming with fresh propositions and new directions…Ealing Feeder is a subtle gem”, Robert Barry, The Wire Magazine (July 2017)
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.