For Headlong: The Effect.
A composer whose work often takes inspiration from science, Sarah Angliss is the founder of electronics ensemble Spacedog with whom she performs live on theremin and other instruments, accompanied by the musical automata she’s built to accompany her live on stage. Her music has been heard in the Purcell Room, BEAM, Supersonix, Transfer, The Green Man Festival, the De La Warr Pavilion, Interesting, Kinetica, BAFTA, the Sonic Arts Expo, Lovebytes and the Port Eliot Festival, as well as dozens of other electronics festivals, cabaret nights, hacker events and the reverberation chambers of the National Physical Laboratory (Reverb Jam, 2006). Funded by the Sciart Consortium, her collaborative project (May 2003) incorporated a live experiment in the Purcell Room, London, in which the music was laced with infrasound. With performer Caroline Radcliffe she created a sound and dance piece which mixed Lancashire clog steps with machine sounds from a working 19th-century cotton mill, inviting the audience to reappraise clog dancing as a steam-powered precursor to techno. This received a Quake Dance Award in 2007. In 2009, she created a new, visceral special effect with Punchdrunk Theatre Company and deployed it in Adam Curtis’ It Felt Like a Kiss (Manchester International Festival). Her BBC Radio 4 documentary on the use of birds as primordial, feathered sound recorders (The Bird Fancyer’s Delight, 2011) led to an ongoing collaboration with electronic artist Moon Wiring Club (Gecophonic Records). She’s also working on a Study Series recording for Ghostbox Records (due for release spring 2013). sarahangliss.com