Three of Canada’s leading figures in experimental music offer a palpable chemistry with expressive resonances you won’t want to leave behind.
Self release – Available from Bandcamp
Erika Angell: voice, processed voice, electronics, bells; Róisín Adams: piano, Wurlitzer, voice and sticks; Peggy Lee: cello, voice and sticks
Recorded at The Warehouse Studio, Vancouver, British Columbia, Canada
Beatings are in the Body is a new trio performing, here, an improvisation grounded on poetic works by Meaghan McAneeley. Their experimental voices are already celebrated: now they divulge to us their profoundly elegiac, solitary music, moving spontaneously between acoustic and electronically wrought improvisations to currently fashionable conformations and verse.
Some time before, on a prior project, Adams and Angell were exchanging ideas and scores via the Web finally arriving at a number of conformations, which also left them with plenty of space for improvisation. They invited Peggy Lee to join them and it goes without saying – they decided to keep the collaboration alive. Further on they were invited to perform their piece at the following year’s International Jazz Festival in Vancouver.
This recording brings with it the spirit of that concert original – each musician offers her own compositions, but the ensemble contributions still reveal that cooperative inspiration. This is very likely due, to some degree, to the variety of experience each of these artists brings to the bandstand.
Róisín Adams leads jazz quartet Hildegard’s Ghost and plays regularly in a trio with bass and drums. She has collaborated with many top instrumentalists and been featured at numerous festivals.
It would be difficult to try to define the nature of Erika Angell’s range of musical works as it is so diverse – Avant-garde, film, noise, music associated with various jazz media and likewise with song.
Vancouver-based cellist and composer Peggy Lee was trained in the classical tradition. She has moved on to an exploration of the sonic possibilities of her instrument.
She has been a member of the New Orchestra Workshop, renowned for indulging in exciting new installations, performances and works that involved elements from a gamut of sources to create an accord of appealing and enthralling creativity. In this context she had worked with Barry Guy, George Lewis, Butch Morris and Wadada Leo Smith. She now works as co-leader in a number of projects.
Three of Canada’s leading figures in experimental music offer a palpable chemistry with expressive resonances you won’t want to leave behind.
