* edition of 50 * One Instrument welcomes the Australian sound artist and composer Felicity Mangan. Based in Berlin since 2008 she plays her found native Australian wildlife archive and other field recordings exploring the timbre and biorhythm of animal voices and field recordings to create minimal quasi-bioacoustic environments.  For the release on One Instrument the mouth organ is her instrument of choice. Felicity explores the resonance and pitch of the reeds within at the harmonica The Echo Harp of the brand M.Hohner.

“Bell Metal Reeds” shows a committed and ambitious composition in each singular tone. The striking attention to detail and commitment to investigating tonal possibility characterizes throughout the whole body of work.  As an amateur player, through breath and minimal electronic music composition techniques she composed four beautiful organic ambient pieces within the parameters of the One Instrument concept. 

Felicity breaths new life into the harmonica and meditates on a the single instrument where she takes extraordinary sounds out of. The Echo Harp that Felicity used was found on a flea market in Hamburg in February 2020. All tracks were composed during the severe lockdown in the Autumn of 2020 in Berlin.  Felicity Mangan is an Australian sound artist and composer based in Berlin, Germany since 2008. In different situations such as solo performance, collaborative projects with other musicians or installation, Felicity plays her field recording archive exploring timbres and biorhythmic patterns to create quasi-bioacoustic electronic music.

Felicity has played in collaborative projects Native Instrument (Shelter Press, Entr’acte) presenting electro-acoustic bug beats with vocalist Stine Janvin.  Felicity has released solo publications on Longform Editions titled Stereo’frog’ic, a play on the word stereophonic – presenting a sound piece, crafted from found recordings of frogs, insects and other ‘vocal’ animals wavering about in a stereo field