AnnaMeredith is pleased to share the second single, “moonmoons,” from her forthcoming album, FIBS, due October 25th via Black Prince Fury. In conjunction, Meredith has collaborated with designer and coder Arthur Carabott for a track-specific app [moonmoons AR] that uses Augmented Reality and Spatial Audio to allow listeners an in-depth exploration of “moonmoons.” Carabott, who has worked with Asif Khan, Yuri Suzuki, will.i.am, and Warp Records, is focused on the next generation of tools for musicians and new listening experiences.
Expanding on the visceral landscape of Meredith’s compositions, the app embellishes the listeners sonic experience by placing six virtual speakers (in the form of the otherworldly hand-made ceramic objects from the album’s artwork, made by Anna’s sister Eleanor Meredith) around their environment, allowing them to experience the piece as if surrounded by the musical building blocks of the track. Just as in the real world, the closer the listener is to an object, the louder it is – allowing for “moonmoons” to be absorbed intimately and for the listener to craft their own personal aural experience. “Augmented Reality and Spatial Audio enable a way of exploring the details of a piece of music that is very natural, and allow the listener to play an active role in their own experience of a piece,” Carabott adds.
“Moonmoons are the moons of moons, and this idea of intergalactic worlds within worlds and of doubling and playing with scale, of zooming in and out is explored right through the piece, down to the cascading climactic slowing down textures which are actually constructed using the rest of the electronics compressed into two second gestures,” explains Meredith.
Across the track, cellist Maddie Cutter plays beautifully, interlacing ripples of arpeggiated synths and unearthly swooping and atmospheric sounds. Percussionist Sam Wilson exerts a low percussive power played on a thunder sheet. As it goes on, the piece darkens, gathering momentum and power as it builds towards a compelling peak before coming back down to earth.
FIBS is no “Varmints Part 2” — the retreading of old ground, or even a smooth progression from one project to another, just isn’t Meredith’s style. Instead, if anything, it’s “Varmints 2.0”, an overhauled and updated version of the composer’s soundworld, involving, in places, a literal retooling that has seen Meredith chuck out her old MIDI patches and combine her unique compositional voice with brand-new instruments, both acoustic and electronic, and a writing process that’s more intense than she’s ever known. Despite Meredith’s background and skills these tracks are no academic exercise, the world of FIBS is at both overwhelming and intimate, a journey of intense energy and joyful irreverence.
FIBS, says Meredith, are “lies — but nice friendly lies, little stories and constructions and daydreams and narratives that you make for yourself or you tell yourself”. Entirely internally generated and perfectly balanced, they can be a source of comfort and excitement, intrigue and endless entertainment. The eleven fibs contained on AnnaMeredith’s second record will do all that, and more besides.