New Release
BBC Radio 3 live recording released on NMC Recordings
‘Ellie Wilson’s haunting Moth x Human turned data about night-time moth activity into a beguiling synthesised fabric’ The Guardian ★★★★
‘So beautiful. Haunting’ CBC Radio
‘A moth symphony … each species has its own distinct musical sound’ Scott Simon, NPR
BBC Radio 3 live recording from PRS Foundation’s New Music Biennial out now on NMC Recordings
Ellie Wilson writes … As biodiversity declines globally, the quiet disappearance of insects often goes unnoticed. I wanted to compose a piece that not only reflected this loss, but also allowed the insects themselves —specifically moths — to help create it, resulting in a sort of interspecies dialogue between moths and humans.
I don’t think I realised quite how much time would be spent staring at spreadsheets before I could start making music. I was introduced to scientists at the UKCEH who use an automated, solar-powered device that records moth activity overnight. It has a light source to attract moths, a camera to photograph them and a computer plus AI to identify the species and timestamp each visit.
I selected a single evening of data and transformed it into music. A custom-built Max/MSP device let me bring this data into Ableton. Each moth’s visit was converted into MIDI, with species assigned a unique pitch or timbre. I condensed real-time monitoring of a whole evening into the 12-minute duration of the work, capturing the ebb and flow of moth activity throughout the night. At some points the moths have created short melodic fragments, and these can be heard later in the piece as repeating motifs in the cello and piano.
The piece sonically represents the impact of biodiversity decline by using data from the same evening but two contrasting locations. It opens with data gathered from Parsonage Downs in Wiltshire, a healthy chalk grassland habitat. Over the course of four hours, 80 different moth species were recorded. The sound world is rich, very active, demonstrating a thriving ecosystem. The closing section of the piece uses data from a monoculture farm in Cambridgeshire where pesticides are used. Here, only 19 moth species were recorded during the same four-hour period and the soundscape is noticeably more sparse and monotonous.
Moth x Human is scored for 2 violins, cello, trombone, piano and analogue synthesizer, but at the heart of the piece is the fixed media track built from the moth data, which plays alongside the live instruments. Most of the writing for the two violins is delicate (marked ‘gossamer – like moth wings’ in the score). They move in fast, whispered exchanged with lots of string crossing that moves from flautando to sul ponticello to bring out a wide range of overtones and timbres. This creates a sort of dreamy, fluttering soundworld. The cello brings contrast and character: playful pizzicati, glissandi, Bartók snaps, and even percussive tapping on the body of the instrument mimic the frantic flutter of a moth caught in a lampshade. I was very lucky to work with The Northern School of Art, who even designed a new module around my project. Fine art, animation, and photography students all created moth inspired artwork that was then 3D animated to make the visuals that are used in the live performance.
Moth x Human Bradford World Premiere
New Music Biennial premiere of Moth x Human at Bradford Loading Bay
Team Moth
Ellie Wilson violin
Freya Hicks violin
Louise McMonagle cello
Huw Evans trombone
Jay Chakravorty piano/synths
Visuals: The Northern School of Art
Photos: Victor Frankowski taken at New Music Biennial, Loading Bay Theatre, Bradford, Saturday 7 June 2025
interviewed by Elizabeth Alker for BBC Radio 3 New Music Show
Moth x Human is commissioned by Oxford Contemporary Music and supported by UK Centre for Ecology and Hydrology
New Music Biennial 2025 – PRS Foundation and Southbank Centre’s new music festival in partnership with Bradford 2025 UK City of Culture and BBC Radio 3 and NMC Recordings.
New Music Biennial
New commission exploring moth biodiversity selected as part of PRSF’s New Music Biennial
I’m delighted that my new work Moth X Human has been selected for PRSF New Music Biennial 2025. Environmental and biodiversity issues are something I’m passionate about and this piece will highlight the impact that habitat loss, climate change and light pollution has on our nocturnal pollinators.
In collaboration with biodiversity scientists at the Centre for Ecology and Hydrology, my piece explores the positive use of AI for conservation. Part data sonification, part notated composition, the work is an interspecies dialogue. Alongside a small ensemble and electronics, moth activity data collected from UK locations is used to generate and manipulate sounds.
Dr Jenna Lawson of UKCEH, said:
“At a time of rapid biodiversity loss and climate change, it is essential that we understand and appreciate the value of nature and the consequences of habitat loss and destruction. The data we collect as scientists highlights both the remarkable diversity of nature and consequences of its loss, however the challenge often lies in presenting this information in an interesting and informative way.
“This project will showcase the wonder of nature through music, specifically focusing on moths and the natural world that comes awake while we sleep. These fascinating creatures are essential for our ecosystems, pollinating many flowers, trees and crops during the night, but are underappreciated. We hope Ellie’s interpretation of our scientific data through a musical composition will show people the remarkable night-time biodiversity of the UK.”
The piece will be performed at the two festival weekends:
6-8 June 2025 Bradford City of Culture
4-6 July South Bank Centre
Broadcast on BBC Radio 3 and released on NMC Recordings.
Commissioned by Oxford Contemporary Music
Supported by UK Centre for Ecology and Hydrology (UKCEH)
Eavesdropping Festival, Cafe Oto, London
Photos & live concert video from Eavesdropping Festival, Cafe Oto, March 2024
The set was recorded by BBC Radio 3 and broadcast on New Music Show 10 August 2024
Extracts were also broadcast on Deutschlandfunk Atelier neuer Musik 21 September 2024
‘Violinist-composer Ellie Wilson plays a set which evokes both the very personal and landscapes and locations …her work braids together so many musical worlds’ - Tom Service (BBC Radio 3)
‘The weekend’s best moments mixed humility and adventure. Ellie Wilson’s set is full of personal resonances ... her grandfather’s reminiscences of the Second World War, field recordings from Epping Forest (which one of Wilson’s ancestors helped save from enclosure), electronics and improvisation on both violin and hardanger fiddle’ Wire Magazine
Photos (c) Dimitri Djuric/Eavesdropping
Podcast: Eavesdropping Festival preview
Podcast: chatting to Juliet Fraser (Eavesdropping) about violins, influences, musical genres, layers of history & moths
Hear me chat to Eavesdropping curator Juliet Fraser about my chance encounter with a violin at school, finding my own soundworld, exploring layers of history, musical genres and moths.
PODCAST (13mins): on.soundcloud.com/L8VcM
I will be performing works from my latest album Memory Islands at Cafe Oto Dalston, on Friday 22 March as part of the excellent Eavesdropping Festival.
GIG: tickets can be purchased at www.cafeoto.co.uk/events/eavesdropping-festival-2024-2/
Here's a tiny preview of what i'll be performing. There will be violin, hardanger fiddle, drones, glitches, improv, field recordings and the voice of my grandad.
PREVIEW (INSTAGRAM): tinyurl.com/2m5ee7wr
Memory Islands liner notes
Find out more about the works on Memory Islands plus read the introduction by Dr Andrew Thompson PhD MRCP - Cognitive Neurologist, London
Introduction by Dr Andrew Thompson PhD MRCP – Cognitive Neurologist, London
Angela Palmer (b1957) The Last Frontier, 2021
What do you remember?
Speaking to a lot of people about their memories, a few things quickly become clear.
Firstly, not all memories are alike.
The capital of France. How to ride a bike. The smell of my grandparents’ house. Passwords for a dozen online accounts. The reason I just walked through to the kitchen. How I felt on the day my little brother was born. I remember all of those things, but each in a different way – and each using different parts of my brain. That complexity of memory maps onto the intricate architecture of the brain, in ways that we are still working to fully understand.
Secondly, not all people are alike.
Those structures of memory work differently in each of us, and for some they are disrupted or damaged as we go through life. Sometimes this is temporary, as Ellie vividly describes that it was for her father in her liner note on Delta. Sometimes it is sadly permanent and irretrievable. Those people have taught us a lot of what we do understand about how our memories work.
Above all, it becomes clear that our memories – complex and fragmented and unreliable as they can be – are fundamental to who we each are as human beings.
It is through the lens of our memories that we see, and process, and understand everything that happens to us. They give the events of our lives context and meaning. It is not just a simple mental list of our experiences that does that. It is the emotions that are inextricably tangled through them. It is the re-living and re-telling of those experiences as we fit them into the stories of our lives. It is the memories that our families pass down to us, the memories of our cultures – even of the landscapes and buildings where we have lived. They all knit together to give us each our own narrative identity.
The works on Memory Islands offer fascinating and beautiful perspectives on that strange landscape of memory. Modern shapes are woven from the fabric of ancient sounds. Figures evolve as they are repeated, and take on new meanings, in new contexts. Words and sounds from the past resonate through to the present …
For me, this music explores how memory has made Ellie who she is – how memory makes each of us who we are.
New single: Delta + Music Video
Music video for new single Delta
Delta is the second single from my solo album Memory Islands, released on Bigo and Twigetti 29 September.
Ellie says “Delta was created entirely on my violin with pizzicato chopped up and spread across drum sample pads, allowing me to play patterns that wouldn’t have fallen naturally under my fingers. It was inspired by my father’s recovery from a coma after a cardiac arrest (he thankfully made a full recovery). As his brain fired up, memories were replayed as if happening for the first time, then filed away in the right places. In Delta, I was thinking about the electrical pulses that transmit this information around the brain. Memories returned slowly at first but then the floodgates opened. It reminded me of a TV documentary I’d seen where a dried-up riverbed filled with water after a monsoon; the water found its way through all the previously carved chasms and cracks in the bed (not dissimilar to the grooves on the surface of a brain) and then into a large river.”
The music video was made by my brother Mark Wilson. He explains the techy stuff much better than me …
“The animation in this music video is the output of custom developed Python code. The application samples audio chunks of Delta in real-time and evolves and adapts the evolution and appearance of lines, intersecting triangular formations and background gradients in response to pre-defined grouped frequency band intensity thresholds. Due to an element of randomness in vector calculation, the line animation will evolve differently each time the application is executed, so this video represents one of many possible interpretations of the audio stream.”
Download/stream single: https://bfan.link/ew-delta
Album CD/DL/Stream: https://bfan.link/memory-islands
New single: Unnamed Unseen + Music Video
Music video for new single Unnamed Unseen
Unnamed Unseen is the first single from my solo album Memory Islands. Written for Hardanger fiddle and electronics, it is inspired by a line from Robert Macfarlane's book Landmarks about nature words falling out of our language. “Once they go unnamed they go to some degree unseen. Language deficit leads to attention deficit.”
The music video was made by Marry Waterson, woven with hand painted film and drawing on themes of nature and fading/lost memories.
Download & Stream single: https://ffm.to/unnamed-unseen
CD/DL/Stream album: https://bfan.link/memory-islands
New Album: Memory Islands (released on Bigo & Twigetti)
New album available to preorder 1 September 2023
My new album Memory Islands is available for preorder today (1 September) on the Bigo and Twigetti label. Available on CD and via all download and streaming platforms.
The music on the album - written for violin, hardanger fiddle and electronics - explores the strange landscape of memory and the spirit of place. The sound world a mixture of experimental soundscapes, drones, and contemporary classical but punctuated with melodic/folky lines on the violin.
It includes a recording of my grandfather reminiscing about his experiences and lost years as a Navy seaman in World War II (By the Time I Got Back Pt 1); along with pieces inspired by the how the brain reboots after waking from a coma (Delta), a line from Robert Macfarlane’s book Landmarks about nature words falling out of our language (Unnamed Unseen) and a quote from the 1984 film 2010: The Year We Make Contact in the moment the onboard computer HAL 900 confronts his digital ‘mortality’– all memories erased (Will I Dream?).
Most of the sounds heard on this album are created from the violin (sampling, processed through effects, detuned, extended techniques).
Singles:
September 1st - Unnamed Unseen
September 15th - Delta
September 29th - By The Time I Got Back, Pt. 2 (Focus Track)
Cover artwork by Janaina Mello Landini
New Release on Accidental Records
A short piece for violin and electronics is released on Accidental Records.
A new work of mine for violin and electronics is released today on Accidental Records. The compilation called Antechamber Music features music by a fantastic selection of experimental artists and is available on limited edition cassette (with glittery tape!), download, and streaming.
The piece is an shortened version of an unreleased track Will I Dream? which gets its title from a quote from Peter Hyam’s sequel to the Kubrick classic 2001: A Space Odyssey. The moment the onboard computer HAL confronts his digital ‘mortality’ – all memories erased. It has an unsettling sound world with lots of space between the notes to create a sense of void. Most of the sounds you hear have originated from the violin, manipulated through FX pedals (including the TC Helicon VoiceLive) and computer processed effects.
Singing with Nightingales
A duet with a nightingale for Earth Day 2021.
Here's last night's broadcast for #earthday #singingwithnightingales. It's a beautiful listen from start to finish but this link drops you in straight at my little piece for hardanger fiddle called Unnamed/Unseen.
Produced by the Nest Collective and hosted by folk singer Sam Lee this free audio broadcast, live on YouTube, takes you on a journey into the woods of Sussex to hear the unforgettable song of the nightingale.
Colin Riley's Lost Engines (Ellie Wilson Remix)
A remix for composer Colin Riley’s Re-Place Project 2020.
Lovely to be asked by composer Colin Riley to remix a track from his album In Place. I picked Lost Engines, which is a celebration of our industrial heritage. It is built around a folk song called The Old Miner and I cheekily added a few extra things (drums & violins) to create a big anthemic feel. Have a listen …
Re-Place
Due to social distancing and self-isolation, our sense of place has taken a hit in recent weeks. But living in isolation has also started to make us all think differently, not just about the fragilities of our world but also about our need to be connected to it, and to each other. Normality may be something we don’t return to, or even wish to return to, and there is a growing sense that so many things might realign in the future.
With this in mind I’ve started Re-Place, a set of remixes of the songs from my 2018 project In Place and a chance to form a community of online creativity during this strange period we all find ourselves in. Nothing too serious. The idea is very much that any of the shared elements of the original audio can get mashed up into a new alignment. No rules. No expectations. A straight-forward celebration of our connectedness.
The remixes will be uploaded as they get created. Enjoy.
Colin Riley (Artistic Director, Re-Place)
In Place is a gathering together of feelings, associations, geographical details, regional identities, dialects, place names, personal memories, imagined routes, and historical connections featuring words by writers including Robert Macfarlane, Jackie Morris, Richard Skelton and Autumn Richardson. For more info about this fascinating project visit Colin’s website.
All the remixes can be found on Soundcloud
Creating a doom-laden, unsettling world for Richard III & Henry VI
Piece for Shakespeare’s Globe about the process and inspiration for music in Henry VI & Richard III
English identity is complex. Our history books are full of stories of the ruling classes: Kings, Queens, and Empire. But what about everyone else? Where are the stories of ordinary men and women? Shakespeare touches on this in Henry VI in the poignant scene following the Battle of Towton - the personal tragedies of a father who has killed his son and a son who has killed his father give us a chance to reflect on the absurdity of war. Towton was the bloodiest battle on English soil - 50,000 soldiers died, and all because two families were fighting for control of the throne.
As a musician with a foot firmly planted in the traditional folk world, stories and music go hand in hand. Don’t get me wrong, the history of the War of the Roses and the web of deceit and betrayal between the Lancasters and Yorks is fascinating, but folk music allows us to glimpse into the life and thoughts of the common man and women. That scene in Henry VI was the catalyst that led me to select the main theme for Henry VI, a broadside ballad called Law Lies a-Bleeding popularised by English folk musician Martin Carthy in his arrangement Dominion of the Sword. The anti-war ballad was written during the English Civil War, about 50 years after Shakespeare’s first performance of Henry VI!
“Conquers the crown too, grave and the gown too
Set you up a province, but it’ll pull it down too
No gospel can guide it, no law decide it
In church or state, till the sword sanctified it”
I'm also very drawn to the idea that places hold traces of past events and this is reflected in a lot of my music so I was excited to discover that I've been walking across the site of St Paul's Cross (outside St Paul's Cathedral) each day on my way to The Globe. This is where the sermon towards the end of Act III of Richard III took place, when Richard was declared rightful heir to the crown due to the supposed illegitimacy of Edward IV’s sons.
The two plays, Henry VI and Richard III, run chronologically, and it was important this was reflected in the music. The Dominion theme and folk song Adieu to Old England appear in various guises throughout both plays. Working with the wonderful Globe Ensemble throughout the rehearsal process allowed me to try out music and songs with the actors and they embraced learning about and singing the folk songs I brought to them.
The overall soundworld of Henry VI combines folk music with cinematic underscoring, creating a doom-laden, unsettling world as the play becomes more bloody and horrific. I particularly enjoyed creating these moods and atmospheres. I normally use electronics in my music so the challenge in the amplification-free zone of the Sam Wanamaker Playhouse meant that I had to think of ways to create similar textures with acoustic instruments. An acoustic guitar set up on its back with a pair of EBow plus a musical saw create a bed of droney wooziness that runs under many of the dreamscapes & ghost scenes. Extended techniques on cello, violin, and prepared piano make it discordant and unsettling – I was going for that horror movie soundtrack vibe!
As we approach the end of Henry VI, we start to get glimpses of what to expect in Richard III. Without giving the game away to those of you who haven’t seen the plays yet, the protagonist leaves his mark on everything around him, including the music, which takes a U-turn in Richard III as we enter a surreal Lynch/Tarantino world where brutal violence is juxtaposed with upbeat music. As Richard loses his grasp on power, the folk music begins to return.
Being part of a creative team means that you are just one cog in the wheel: direction, design, costume all feeds into the music and vice-versa, and takes you in directions you really weren’t expecting at the start. To write music for theatre, you need to be able to turn your hand to almost anything musically and as you get closer to the previews, you find yourself writing bits on the spot. Keeping up with the pace of changes once rehearsals get into the performance space is a real challenge, but one that that has been incredibly rewarding. Playing live in the band each night has been an added bonus. Every performance is different, and finding subtle variations and tweaks to how we’re playing the music has been a real joy. You can’t help but be inspired by the evocative surroundings of the candle-lit Playhouse - I’ll be sad when the run comes to an end!
This blog was written for Shakespeare's Globe website blog
“Ellie Wilson composes the score, with haunting solo vocals and an impressive set of themes that make it this season’s most memorable.” – Fringe Review
“The music lends an uncanny atmosphere throughout, especially from the saw and violin (both played by Ellie Wilson)” – Broadway World
“The brilliant band melts seamlessly into the drama.”- Guardian★★★
“Music feels tonally akin to a Scorsese film – extreme violence enacted to a soundtrack and choreography that belie such evident rage … the music is strong and Ellie Wilson's use of the saw lends a great deal of tension to the play's darker moments.” – Whats On Stage ★★★
‘Each death is brought about by such wanton savagery and set so perversely to upbeat music that it is difficult to know whether to laugh or cry .. Moments of gravity are supported by a cold filmic undertone of music that gives the scene a chilling feel’. - DrownedStage
“The production’s use of music was witty and oftentimes hilarious” - Stamped on the Atmosphere
“The juxtaposition of the song ‘For the Good Times’ with the brutality being performed on stage has echoes of the postmodern jukebox soundtracks of Quentin Tarantino” - ‘Action is eloquence’: (Re)thinking Shakespeare
“Breezy songs soundtracking grisly killing; we feel the thrill of all this amoral bravado, but see its awful impact too. These liberty-taking, lacerating exercises in black comedy put Shakespeare’s history plays into the present tense.” The Times ★★★★
New Single: The Lopper and the Landgrabber
From the album and Epping Forest sound installation Echoes: Unearthing Stories of the Forest
The Lopper and the Landgrabber is the first single from my album & sound installation Echoes: Unearthing Stories of the Forest, created during my artistic residency in Epping Forest. The song tells the story of how working-class activism helped save the forest from enclosure during the 19th century.
My main focus for the song is Thomas Willingale, a labourer from Loughton who continued to practise his ancient right of lopping trees in Epping Forest despite strong resistance from the Lord of the Manor. Thomas played an important role in saving Epping Forest and the Willingale story is a wonderful collection of fact and folklore, including court cases, prison sentences and devious plots. There is also a personal connection - he is my 5 x Great Uncle! The folk song’s title takes its name from a William Morris quote. He complained that “the grip of the land grabber is over us all; and commons and heaths of unmatched beauty and wildness have been enclosed for farmers or jerry-built upon by speculators in order to swell the ill-gotten revenues of some covetous aristocrat or greedy money-bag”. The first two verses and first line of the chorus are from poems The Mores and Remembrances by John Clare, who lived for some time at Fairmead House in High Beach, a private asylum run by Dr Matthew Allen. The ‘mind-forg’d manacles’ – a nod to William Blake’s London – are a call to remove the mental chains that restrict those that do not question injustice. You can read more over on my blog here.
I’m joined on this track by Thom Ashworth (vocals, bass, mandolin) and Fran Foote (vocals).
Enclosure came and trampled on the grave
Of labours rights and left the poor a slave
Each little tyrant with his little sign
Shows where man claims earth glows no more divine
It levelled every bush and tree and hill
Hung moles for traitors though the brook runs still
And birds and trees and flowers without a name
All sighed when lawless law’s enclosure came
Enclosure like a Bonaparte let not a thing remain
No rest until it’s torn apart, the landgrabbers’ claim
Old Tom made his living on the land
And at the stroke of midnight made his stand
He lopped a branch from winter’s leafless oak
To save the forest for the Common folk
Back to the inn he entered with the limb
And held it high before the crowd within
No Lord would part him from his ancient right
As he leapt the fence upon St Martin’s Night
The lords and ladies take what’s yours and mine
But lop a branch and you shall do the time
You’ll pick the tarry oakums, tread the mill
For gathering fuel to beat the winter’s chill
Remove those mind-forged manacles and see
The forest’s fate depends on you and me
And beauty all around you’ll never lack
Cos in the end we’ll go and steal it back
Echoes: Unearthing Stories from the Forest is available to order now.
The sound installation runs from 12.11.2019 – 05.01.2020
The View Visitor Centre, Chingford, Epping Forest (FREE - just turn up!)
Living Symphonies
Epic project, composed and realised by James Bulley and Daniel Jones.
Recording at Goldsmiths UoL
Living Symphonies is a musical composition and installation that grows in the same way as a forest ecosystem. Each species found in the forest is depicted by a unique set of musical motifs, and for this installation composers James Bulley and Daniel Jones invited me to record parts they had written depicting grass, butterfly and falcon. You can hear it 20- 28 July via a network of speakers hidden in the forest near Chingford Plain.
For more information visit #wfculture
Here’s a video from a similar installation James and Daniel did a few year’s ago.
Living Symphonies is taking place in Epping Forest as part of London National Park City Festival and Waltham Forest Borough of Culture.
It is completely free to visit, and is open from 11am to 8pm, from 20-28 July.
It is located within the Chingford Plain region of the forest, at the below map location. 51°38’25.9″N 0°00’54.7″E
Nearest station is Chingford on the Overground. There are also a number of forest carparks.
Music video for Halyard
Video for my single Halyard.
My mate David Lefeber has created this atmospheric video for my single Halyard. We filmed boats, sea, lobster pots and some dead things in Hastings last year.
Halyard was written, performed and recorded by me in Imogen Holst's Cottage in Aldeburgh on a very dark and rainy day - I reckon you can hear some of that gloominess in the music!
Here’s some photos from the day of filming:
Nice words about Halyard …
‘... in a very short time she creates a wonderful arch and line of sound. Saving a little surprise towards the end - a beautifully poised and composed work combining electronics, violin & bass’ Errollyn Wallen, BBC Radio 3
‘A really haunting piece ... there’s a real sense of place’ Sean Rafferty BBC Radio 3 In Tune
Artist-In-Residence Epping Forest
I’ve been invited by City of London Epping Forest to be its Artist in Residence in 2019.
If you follow me on Instagram you may have recently noticed an influx of photos of trees, mushrooms and ponds. I am excited to announce that I’ve been invited by City of London Epping Forest to be Artist in Residence in 2019 - a whole year let loose in the forest to explore nature, local history and sound.
Having lived near the forest all my life, I'm in my element researching how people have shaped Epping Forest throughout the centuries: you can find Iron Age camps, medieval roads, a Tudor hunting lodge, an C18th grotto, pollarded trees, ponds created by WWII bombs, and maybe even Dick Turpin’s hideout!
Although most of my reading is online, it’s lovely to have some books to dip into. Some of the older ones I own belonged to my Great Grandfather, who lived on Smarts Lane in Loughton. I’ll shed some light on my family connections to the history of the forest in another blog.
Over the coming months I will be writing music inspired by the stories and the places I visit in the forest. If you want to follow my progress, please sign up to my newsletter and follow me on Instagram I Facebook I Twitter.
Forest Focus Magazine announces my residency on pages 5 and 13.
My project will be linked to Waltham Forest’s year as London Borough of Culture 2019, a Mayor of London initiative, and will integrate with an exciting new project called ‘The People’s Forest’ which is being curated by Luke Turner and Kirsteen McNish.
Want to visit Epping Forest? The London Overground connects London Liverpool Street to Epping Forest at Chingford and the Central Line offers access points to the forest from Leytonstone through to Epping.
New single: Halyard
A really haunting piece ... there’s a real sense of place’ Sean Rafferty BBC Radio 3 In Tune
Halyard was written, performed and recorded by me in Imogen Holst's Cottage in Aldeburgh on a very dark and rainy day.
‘... in a very short time she creates a wonderful arch and line of sound. Saving a little surprise towards the end - a beautifully poised and composed work combining electronics, violin & bass’ Errollyn Wallen, BBC Radio 3
‘A really haunting piece ... there’s a real sense of place’ Sean Rafferty BBC Radio 3 In Tune
2018 airplay:
BBC Radio 3 In Tune (08.03.18) for #IWD18
BBC 6 Music Stuart Maconie's Freakzone (28/01/18)
photo: Imogen’s Cottage, Church Walk, Aldeburgh, Suffolk