Laura Cannell blows my mind. Here’s a track from her forthcoming LP Simultaneous Flight Movement which is released on 21 October. Pre-order a copy today directly from Laura’s label Brawl Records. (JB)
Laura is a guest of ours at The Good Life Experience on Saturday 17 September and again the following month in London when she plays alongside Marisa Anderson at The Forge in Camden. Here’s a full run down of her Autumn tour dates:
03 NEWHAVEN – FORT PROCESS FESTIVAL Echo Fantasy w/Sarah Angliss
17 FLINTSHIRE – THE GOOD LIFE EXPERIENCE – Caught by the River Stage
08 BERLIN – DIGITAL IN BERLIN Schneider Brewery
21 COLOGNE – NIGHT OF SURPRISE
25 LONDON – THE FORGE CAMDEN Caught By The River presents: Marisa Anderson + Laura Cannell
26 MANCHESTER – ISLINGTON MILL Marisa Anderson + Laura Cannell
27 MILTON KEYNES – MK GALLERY Marisa Anderson + Laura Cannell
28 READING – SOUTH STREET ARTS CENTRE Marisa Anderson + Laura Cannell
29 GATESHEAD – THE SAGE Marisa Anderson + Laura Cannell
30 GLASGOW – GLAD CAFE Marisa Anderson + Laura Cannell
19 NORWAY – BERGEN Kunsthall
25 BRUSSELS – RECYLART
26 LONDON – THE UNION CHAPEL – Daylight Music Curated by Laura Cannell ‘MEMORY MAPPING’
with – Charles Hayward + Hoofus + Mythos of Violins + Jennifer Lucy Allan
“Simultaneous Flight Movement features fourteen tracks and was recorded live in one take inside Southwold Lighthouse in Suffolk, UK. A collection of semi-composed semi-improvised pieces from the edge of England which seek to dissolve borders, move away from formal structure and to re-imagine a sonic landscape unrestricted by time or origin. With a background in medieval, baroque, traditional and experimental music, Laura explores the spaces between ancient and experimental through improvisation to create new music that is rooted in but not tethered to the past.
Fragments of fragments move the air inside the hollow tower, sending and receiving messages like an upside-down wishing well. With the seldom used rich and evocative polyphonic overbow technique and double recorders styled on early stone carvings, Laura creates a minimalist chamber music, where one player makes all the harmonies, encouraging harmonics and difference tones to emerge. She draws inspiration from the emotional influence of the landscape including wild animal calls or fragments of liturgical music in order to build music that avoids historicism and instead inhabits an imagined territory, combining contemporary and archaic elements.
Medieval cantigas intertwine with the music of long disintegrated renaissance courts, and real-time compositions produce parallel chord movements which seem to originate from the same, ahistorical place. Inside the lighthouse the white conical walls shaped the music which unfurled skywards and away over The North Sea”.
“The hollow tower contemplates The North Sea. Welcoming, Warning, Blazing to the East”