Live a cappella recording, 'Summoning'. Captured during EP launch show at St. Pancras Old Church. 

Lyrics:
Come over child
And lay your head upon my shoulder
Lay a smile upon my face
And tell me wise words
Though I'm older
I am none the wiser 
Anymore
I know nothing 
I know less
Then I knew before
I have nothing
Now that you're gone
Guess I was wrong
You did not hold on to this life

No riches could amount to your love
No riches could amount to your touch
No riches, no riches

Where are you now my love?
Where are you now? 

UV is supported by the PRS Women Make Music Foundation

Summoning (Live @ St.Pancras Old Church)

Age Of Falling

PLAYLIST

Part I

1. Jenna Bliss
“Lincoln Detox”, 2014
14:14 min, stereo sound

2. Adrianna Palazzolo
“18.03.14_Mario”, 2014
05:05 min, stereo sound

3. Nicola Woodham
“Humwhammy/Voice Changer”, 2014
08:29 min, stereo sound

4. Cara Tolmie
“PIT”, 2014
07:36 min, stereo sound


Part II

5. Hannah Catherine Jones
“Aria (for our ears)”, 2014
09:00 min, stereo sound

6. Jenna Collins
“Deaf Captain Accident”, 2014
05:52 min, stereo sound
Music by Tim Parkinson. 
Extract from TRIO (2007) played by Angharad Davies, Tim Parkinson and Stefan Thut and extract from Viola Piece (2003) played by Julia Eckhardt.

7. Marina Elderton
“C’est Celestial I”, 2014
05:06 min, stereo sound

8. Diana Policarpo
“Part A – Erzulie”, 2014
13:45 min, stereo sound
Based on an excerpt from “The Divine Horsemen” (1953), by Maya Deren.


Listening Seminar 4 - Sound Works by Women Artists 25/03/2014

Preposition Demands:

In front of, among then towards: singing. Her driving, plateau finding. No heat.

Standing on something declared!

Onward to: near, close, on top of, onto plateau finding.
Evenly spread above the grouping: that one over there, the blur. Followed by through, past to the outside (off).
And then within, behind plateau finding alongside steady grouping beneath.

Then coming back again in the dance. Freeing others to take it elsewhere. Plunge into that dance effort (half dragged). Not to be jumping and waiting. And then waiting (at best they’re swaying).

Gradual shifting of scene and attention during walk to. And then back, backwards – only now noticed.

Soon after – big slow down to entangle. Big slow back again. Backed up against the door till it feels all right. Fed back again until the planes touch, so that they can protest and scan volition.

But now to go again, out of doors. Pass before, gracefully. The location, approaching.

Installed outside of the motor and peeling.
Close, so very close (dissipated private). Takes them to a sort of need. A bit dark, back on the blur of the law (redressed).
Turned inside out when going from one side to the other. Not gyrating above a certain peak.

Among then towards, in front of: what did you just say? (remix).

Her steering, residual tension (goes unsaid of course).
To before and then inside and then instead of. Stand by.

Something declared! Inside Vehicle! Judge’s Chamber! 

Pilot

Drama. (Blondynka Films, Poland/Belgium). 

While aimlessly racing cars at an abandoned airport plot, Krolik finds himself unable to connect to his siblings amidst an unspoken tension.

Score featuring a 16 piece string orchestra.

Torino Film Festival 2016. 

Suspension (Fiction)
Dir. Philip James McGoldrick. 
Music. Marina Elderton

People Are Not Important- Orchestral 1 (Marina Elderton)

Playlist 2

1. Jenna Collins
Stinking Blue Cloud (a march and a waltz) (2015)
6.00 mins

2. Jenna Bliss
A Complex Site (2015)
6.22 mins

3. Cara Tolmie
Pilot (2015)
Duration: 6.26 mins

4. Adrianna Palazzolo
Room for Destruction (2015)
6.15 mins

5. Hannah Catherine Jones 
Owed to the Uncanny (2015)
11.47 mins

6. Nicola Woodham
The Testament of Camera 26. 
Episode 1 ‘I Can’t See You’ (2015)
5.57 mins

7. Marina Elderton 
The Transition (2015)
In collaboration with sound designers Eleanor Nicholls and Tom Jenkins  
6.18 mins

8. Diana Policarpo
Visions of Excess (2015)
10.20 mins


Erinyes Playlist 2

Improvised Live Soundtrack for the film "Progress Report from the Strategic Sanctuary for the Destruction of Free Will", by Pil & Galia Kollectiv, Pump House Gallery, London

Progress Report from the Strategic Sanctuary for the Destruction of Free Will

Asher Levitas is perhaps best known as part of Old Apparatus, the acclaimed and enigmatic London experimental outfit. Over the last few years he has featured on releases for labels including Deep Medi, Houndstooth and Left Blank as ‘Saa’ with the singer Linn Carin Dirdal.
 
‘Lit Harness’, his first solo album, started forming as a project in 2015 alongside the artist and writer Michael Crowe who worked on the live A/V show while Asher created the music with vocalist Marina Elderton (from the Ethereal Psych band Kull) who features on the tracks.
 
The record follows personal themes in a time of extreme emotion: anxiety and madness but also serenity and acceptance, hence the term ‘Lit Harness’, which is a Harness that holds you in a calm place while chaos happens all around. Asher also wanted to describe the experience of the sleep paralysis, which he has had most of his life, into a musical sound world. That’s not to say the album is totally dark, but there’s intensity and transcendence here as well as an otherworldly beauty.
 
The music on ‘Lit Harness’ plays out in a shadowy hallucinogenic dream-like state where it’s not clear what’s meant to reflect reality or pure fantasy. Part of this process was the way the audio and visuals developed in tandem with each other, Michael passing Asher images and video, which Asher used to inject drama into the tracks and finish them.

‘Lit Harness’ could be described as ambient, but every track is filled with detail and a strange clanking drama, the hammering noises of ‘Withdrawn’ and the cold fever of ‘In The Eyes’ playing out like a dream. ‘Sheathe’ turns the record around with clouds of swirling choirs and ‘Waiting By An Open Door’ plays a hazy piano, with wind rushing through the soundfield. ‘Strongest Bonds’ has held descending chords with watery drum hits; ethereal vocals building in the background into a haze of noise. ‘Blessed Mother’s’ repeating vocals and rising chords ripple with a transcendent, gentle hopefulness, which gives way to the flatline drone and otherworldly voices of ‘Premature Exit’. ‘Anticipating Violence’ finishes the album with a sad, angry surrender, punctuated with rushes of cold hammering and reversed breaking glass.

Lit Harness

Asher Levitas - Blessed Mother

Playlist 3, presented at Deptford X Fringe, London, October 1st 2016

08’15 Sound Poem (after patriarchy). Diana Policarpo
03’45 Multi-Tasking. Adrianna Palazzolo
05’50 Visual Sequence. Jenna Collins.
05’50 Bold Enough to Launch a Thousand Ships. Cara Tolmie
02’00 Dreams. Marina Elderton.
10’00 The Ravens of Shoreditch Park. Nicola Woodham
12'30 Owed to Senzeni Na (recorded live). Hannah Catherine Jones (aka Foxy Moron)

Playlist 3

PLAYLIST3 Soundcloud

i AM esper - Swept Beneath The Black Waters Part 2

Composer for film, TV, theatre and media. Combines traditional instruments with experimental textural sounds and samples. 

Independent musician, sings and plays guitar in ethereal-psych two-piece KULL. Guitarist in female improv collective Cabiria. One half of White Russia, electronic project.

People Are Not Important- Orchestral 1 (Marina Elderton)

Marina Elderton Composer

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