That Celestial Shore
That Celestial Shore that takes as its premise Irish musical forms as they are found in the artist’s home state of North Carolina. Written for an Irish audience, That Celestial Shore is a gesture of returning these forms, some of which have been uncannily preserved while others have mutated beyond recognition. That Celestial Shore details the numerous and overlapping forces of conflict, climate, labour and loss that shaped these musical forms. This piece was made possible with the generous support of the Elephant Trust.
Recorded by Jonathan Delaney at Centre for Contemporary Art Derry~Londonderry on the 10th of December 2016. Edited and mixed by Adam Laschinger
a train going through the valley didn’t wake him, but only entered his dream
A performance which alloys the railway song in United States folklore, vocal signalling, and train dreams with private and historical digressions in an immersive hour of storytelling and song. Featuring recordings from Virginia, North Carolina, Louisiana, Arizona, Alaska, Sweden, and Central African Republic.
Recorded by Adam Laschinger at Kingsgate Workshops, London on the 7th of May 2016.
The Poetic And Political Economy Of Gucci Mane
Everything Gucci is a tribute to Gucci Mane, the currently incarcerated Atlanta-based rapper. Gucci’s work details the underground economy of the post-industrial Southern United States. Drawing on a history of labour and song, Angell will present field recordings which position Gucci’s work within the traditions of gospel, country blues, agricultural songs, auctioneering and songs found in juvenile detention centres and prisons.
Recorded by Adam Laschinger at Res, London on the 13th of November 2015
In a cell lit by singing fireflies
An auditory cinema of desire, distance and bodily rhythm featuring ethnographic field recordings from Papua New Guinea, Bulgaria, France, Mississippi and more. This lecture-performance looks at love songs transmitted via bird and insect messengers, prison songs where the yearnings of the incarcerated fail to reach their loved ones and maternal resonances of bass immersion as exemplified in recordings of gongs.
Recorded by Adam Laschinger at Camden Art Centre on the 29th of July 2015
Crying in the Ethnographic Field Recording
“Crying in the ethnographic field recording is written around selections from the artist’s own collection of records, pinpointing moments of weeping and wailing as they appear in lullabies, mourning songs, laments, and spontaneous outbursts of sobbing as captured in the process of documenting oral transmission. Through an analysis of the shared meaning of crying within divergent communities, Angell focuses upon the problems immanent in grasping the emotional and psychical lives of others through listening.
Featuring recordings of the Bitterroot Salish, Bororo, Csango, Ekonda, Egyptian, Irish Tinkers, and Kaluli people.
Recorded by Adam Laschinger in Sigmund Freud’s garden at The Freud Museum, London on the 6th of July 2013 for the centenary anniversary of Totem & Taboo’s publication.”
Forgetting & Negative Space Within the Ethnographic Field Recording
“Forgetting and negative space within the ethnographic field recording” is a lecture / performance structured around selections of field recordings which highlight lapses of historical memory, misremembering, archaic speech, and the absence of the historical subject. Maya Deren, upon doing fieldwork in Haiti, famously noted the existence of a Haitian proverb that goes “when the anthropologists arrive, the gods depart.” In many cases, once the recordist or ethnographer arrives to do field work the practices they seek to observe are long gone and as such the grandchildren of the last living practitioners, or even stray aging witnesses are called upon to perform a reenactment through little more than a distant memory. The artifice of this situation sometimes produces new forms which can tell us much about changing conditions as reflected in language and sound. Also prominently featured are songs and articles of recorded speech which take forgetfulness as their subject. Featuring recordings of Borneo, Greece, Italy, Malaysia, Mexico, New Guinea, and the United States.
Recorded by Adam Laschinger at David Roberts Art Foundation Fitzrovia, London on the 17th of September, 2011 as a part of the “Fig. 3: I don’t know what to say” exhibition curated by Stef Hirsch and Anca Rujoiu.
Labour & Rhythm
“Labour and Rhythm” is a site-specific lecture written for Banner Repeater, located at Hackney Downs overground station, the site itself being evocative of railway time and Britain’s transformation from an agricultural to a now post-industrial society. Selections from Angell’s archive of ethnographic field recordings have been used to structure a lecture concerning the rhythms of labour, the complex relationship between labour and sound in determining our temporal and linguistic orientation, and the problem of temporal distancing as it pertains to recognising other peoples’ modes of production. Featuring recordings made in Borneo, Guyana, Colombia, Mexico, Mongolia and the United States.
Recorded by Adam Laschinger on Saturday the 19th of November 2011 at Banner Repeater, organised by Ami Clarke.