Excerpt from the score for UK horror film Amulet (2020 - written and directed by Romola Garai). All music composed and produced by Sarah Angliss.

Score performed by the composer (on keyboards, recorders and electronics) and the following musicians: Sarah Gabriel, Melanie Pappenheim and Robin Hallett (vocals); Stephen Hiscock (percussion) and Stephen Bentley-Klein (bass guitar). 

Image: Carla Juri and Alec Secareanu, Amulet (2020). Copyright Nick Wall. Magnet Releasing.

Amulet (film, 2020)

Amulet (2020) Main Title

Amulet (2020) The Parlour

Amulet (2020) Rotherhithe Tunnel

Amulet (2020) The Walk To The House

Excerpt from the score for UK horror film Amulet (2020 - written and directed by Romola Garai). All music composed and produced by Sarah Angliss.

Score performed by the composer (on keyboards, recorders and electronics) and the following musicians: Sarah Gabriel, Melanie Pappenheim and Robin Hallett (vocals); Stephen Hiscock (percussion) and Stephen Bentley-Klein (bass guitar). 

Image: Carla Juri and Alec Secareanu, Amulet (2020). Copyright Nick Wall. Magnet Releasing

Amulet (2020) The Plumbing

Amulet (2020) Sleep And Revelation

Amulet (2020) Mother

Amulet (2020) Cold And Hollow

Amulet (2020) In Bed - A Recurring Dream

Track from new Gecophonic Production "Down to the Silver Sea". A summery compilation album, curated by Moon Wiring Club, on which I join fellow artists Moon Wiring Club, Jon Brooks and Time Attendant.

Album available from The Blank Workshop (GASP!01LP)

http://www.blankworkshop.co.uk/

Summer's Lease (Sarah Angliss) from Down to the Silver Sea

Here's an excerpt of the sound track composed using the sounds of cotton mill machines, to accompany Caroline Radcliffe, Lancashire clog dancer. 

Our dance and AV piece aims to highlight the industrial roots of Lancashire clog dancing by juxtaposing dance steps with the machine actions which directly inspired them. I spoke about the history and development of this dance in a recent TEdx talk - more details here: http://www.sarahangliss.com/talks/lovingthemachinenotes

The Machinery (cotton mill sounds for sound and dance piece)

Examples of tunes from the Bird Fancyer's Delight (Richard Meares, 1717). I've performed these on the sopranino and treble recorders. 
Find out more about the history of these tunes in my forthcoming Radio 4 documentary, The Bird Fancyer's Delight, 1.30pm, BBC Radio 4, 5 July 2011. Documentary produced by Neil McCarthy. These were recorded as incidental music so are performed without repeats - apologies to any Early Music aficionados!
Sarah Angliss


Tune for the Woodlark

Tune for the Bullfinch (minor key)

Tune for the Bullfinch

Tune for the Linnet

Tune for the Linnet (March)

Tune for the Throstle

Excerpt from The Machinery - sounds collected from Quarry Bank Mill, a working cotton mill in Styal, on the Cheshire-Lancashire border. Working with Caroline Radcliffe (clog dancer and theatre historian), I put these sounds together to accompany a highly-metric Lancashire heel-and-toe clog dance, "The Machinery". "The Machinery" is a nineteeth-century machine-mimetic dance.

The Machinery (sounds to accompany clog dancer - long excerpt - S Angliss and C Radcliffe)

"Oh, there was fine beautiful ships them days - clippers with tall masts touching the sky - fine strong men in them - men that was sons of the sea as if 'twas the mother that bore them..." Paddy recalls the old days of sailing ships as the rest of the crew listen intently.

Excerpt of incidental music for scene 2 of Eugene O'Neill's expressionist play The Hairy Ape (1922). Created for The Old Vic Theatre, London, (2015) by Sarah Angliss, composer and sound designer. Directed by Richard Jones.


Paddy's reverie - the old sailing ships. S Angliss for The Hairy Ape, The Old Vic, director R Jones.

Into the stokehole where the crew shovel coal into furnaces. One dim, hanging electric light sheds just enough light to throw shadows everywhere.

Excerpt of incidental music for scene 3 of Eugene O'Neill's expressionist play The Hairy Ape (1922). Created for The Old Vic Theatre, London, (2015) by Sarah Angliss, composer and sound designer. These sounds accompany choreography by Aletta Collins. Directed by Richard Jones.

Into The stokehole. S Angliss for The Hairy Ape, The Old Vic. Director R Jones.

The original mix of The Messenger, composed by Sarah Angliss. This was remixed by Belbury Poly of Ghostbox for their Spacedog/Belbury Poly collaboration Study Series number 10 (Message and Method). 

The spoken words (performed by Flora Dempsey) are taken from an early description of radio - other words by Sarah Angliss. Thanks to the Prelinger Archives for the excerpt from Plenty of Time for Play, an electricity promotional song from the 1930s.

The Messenger  - Alexandra Palace Mix (Sarah Angliss with vocals by Jenny Angliss)

Buy this song at http://spacedog.bandcamp.com/track/submariner-feat-colin-uttley

From the new Spacedog album Juice for the Baby.

Words and music Sarah Angliss, incorporating a quote from Benjamin Britten's Four Sea Interludes. Performed by Spacedog.
Colin Uttley - spoken word
Jenny Angliss - vocals
Sarah Angliss - keyboard, recorder and samples

Submariner (Spacedog feat. Colin Uttley)

Inspired by an early imagining of mobile telecommunications, published at the end of the nineteenth century in an engineering magazine. This is my original version of a track remixed by Belbury Poly for the Ghostbox Study Series.

From the album Ealing Feeder (Sarah Angliss)
Featuring Jenny Angliss (vocals) and Flora Dempsey (spoken word)

Archive recordings from Prelinger (released under a CC licence) and the NASA Cassini Probe.

Buy on Bandcamp

The Messenger (Alexandra Palace Mix) - Sarah Angliss for Ealing Feeder

In the 1930s, before the vaccination era, the fever van removed contaminated Londoners from their homes, transporting them to the fever hospitals. 

This track incorporates words from the English folksong Ushers Well, which features a woman visited by her three young sons who have died while away from home.

From the album Ealing Feeder (Sarah Angliss)
Featuring Stephen Hiscock (percussion) and Colin Uttley (spoken word)

Fever Van

An expression of all that is venal about London property speculation. 'Sky bullion' is a term used by those using the London property market as a safe haven for money. I asked percussionist Stephen Hiscock to extemporise with a recording of the building site outside my flat - this was the result.

From the album Ealing Feeder (Sarah Angliss)
Featuring Stephen Hiscock (percussion)

Sky Bullion

A curse that may be mistaken for a love song. It's inspired by an account in Edward Lovett's 'Magic in Modern London' (1925) in which a butcher in East London impregnates a dessicated cow's heart with nails and pins to curse a rival. I adapted the words from some Anglo Saxon cunning magic, used against someone who has stolen cattle.

From the album Ealing Feeder (Sarah Angliss)
Feat. David Bramwell of Oddfellows Casino (vocals)

Cow Heart Pin - Sarah Angliss for Ealing Feeder (vocalist David Bramwell)

Reimagining the transfiguration myth in the English folksong The Two Magicians, in which two men contuinally shapeshift as they chase one another to the death. This version moves the action to Lucha Britannia, a masked wrestling club in Bethnal Green.

From the album Ealing Feeder (Sarah Angliss)
With thanks to Lucha Britannia and photographer Gaynor Perry

The Two Magicians

From the album Ealing Feeder (Sarah Angliss)
Featuring 'The Ealing Feeder' - a robotic, polyphonic carillon designed and built by the composer.

Camberwell Beauty - S Angliss for Ealing Feeder

Underscore for a love scene, set at night in an abandoned building. For Lucy Prebble's 'The Effect' (National Theatre, 2012, dir Rupert Goold). The play is a love story set on a clinical drugs trial and I used metallic and electronic sounds from clinic equipment, along with piano, throughout the score. 

I've presented this here as one piece but actually it’s a series of 13 cues, each just a few seconds long, which dovetail each other. This dovetailing enables the music to follow the script and the choreography (from Aletta Collins), gesture by gesture.

This love scene incorporates a piano, playing in the distance. I used simple piano figures because I was trying to write something sweet and lyrical. Its treatment is inspired by a walk in the Sussex woods a few years ago. Just outside Lewes, I stumbled on an abandoned hospital, ramshackle but still standing. In the middle of the hospital grounds, was the social hall, built in the 1950s, now overgrown with weeds. Paint was peeling from the walls but you could still see old health posters and the twisted remains of tubular metal chairs. There, in the middle of it all, stood an old upright piano, its lid down, dusted in plaster from the ceiling which was about to collapse. If I was brave enough to step into the room and lift the lid of the piano, I’m sure it would have played.

Love in an Abandoned Building - S Angliss (for Lucy Prebble's The Effect, National Theatre)

Drawing blood, queasy - excerpt (for The Effect - Sarah Angliss)

A composer for film, theatre and the live music stage. Her music explores the sonorities of voices and ancient instruments, revealing and augmenting them with her distinctive electronic techniques.

Thanks to Lucy Cage for the photo.

Sarah Angliss

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