Laura Cannell launches her new monthly Sound Hoard series with “Echoes of a Swan Bone Flute”, out now on Brawl Records, and accompanied by a Simon Nunn film. Inspired by swan-bone flutes from the 13th–15th centuries displayed at Norwich Castle, she performs on overbow and octave violin, bass recorder and synths.
SILKess Demon’s “Life is Art, Art is Life” marks a departure into the folk-horror briar — visions of Britain’s native music suffused with dread and obscure ritual. One of the quiet victories of self-released, self-recorded, neurotic, folk-inflected artistry that helps make Britain bearable again.
Félicia Atkinson’s “Sans Visage” reimagines the score to Georges Franju’s 1960 horror “Les Yeux Sans Visage” — a perfect assignment for a master of creepy-beautiful soundscapes. Built around piano and studio electronics and dedicated to Gisèle Pelicot, it’s a perfect example of how experimental music can bridge the gaps presented by time, genre and gender… Its spectral beauty is lingering and at times uncomfortable, but never less than enthralling.
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