Anna Meredith is a composer and performer of both acoustic and electronic music.
Anna's music has been performed everywhere from the Last Night of the Proms to flashmob performances in the M6 Services, Latitude Festival to PRADA fashion campaigns, Huddersfield Contemporary Music Festival to the Ether Festival, and broadcast on Radio 1, 2, 3, 4 & 6
She has been Composer in Residence with the BBC Scottish Symphony Orchestra, RPS/PRS Composer in the House with Sinfonia ViVA, the classical music representative for the 2009 South Bank Show Breakthrough Award and winner of the 2010 Paul Hamlyn Award for Composers.
During 2012 she wrote HandsFree as a PRS/RPS 20x12 Commission for the National Youth Orchestra which was performed at the BBC Proms, Barbican Centre and Symphony Hall as well as numerous flashmob performances around the UK. Her new body-percussion piece Connect It, made with choreographer David Ogle, is a commission for the BBC Ten Pieces Initiative which launches in Autumn 2014 and aims to reach every Primary age child in the UK over the coming year.
Anna's debut EP - Black Prince Fury was released on Moshi Moshi records to critical acclaim including Drowned in Sound's Single of the Year.
Anna's 2nd EP - Jet Black Raider was released on Moshi Moshi records in 2013.
Projects during 2013 included arrangements for The Stranglers & Laura Marling with the London Sinfonietta for the 6Music Prom, performances/commissions at Latitude Festival, Streetwise Opera and a Recorder Concerto for Erik Bosgraaf and the Aurora Orchestra.
2014 included commissions for the Scottish Ensemble, Living Earth Duo and a Residency in Hangzhou as one of the British Council/PRSF China Residencies.
Anna is currently finishing up work on her debut album due for release in 2015.
sometimes all I want to do is listen to the sound of Sandi Toksvig's laughter on a loop
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An epically ominous fantasia of which the name and sound evoke some knuckle-dragging forest beast in hot pursuit of a unicorn, rendered in ever-escalating synthesizer streaks, clashing rhythms, and toward the end, the intrusion of what-- for Meredith's music-- is a surprising sound: Human voices. Pitchfork
overblown melange of brash synth-and-drum work that’s equal parts Beethoven and Flying Lotus Because
Orlok is a wild introduction, for those of you new to her. She released another EP, 'Black Prince Fury', before this, but there's a distinct craft to this new track, something that begins scattered and on the brink of being completely overwhelming. Instead of erring on the wrong side, it melds strange, disparate elements (power synths, bells, jazz pianos) into something resembling a coherent, streamlined piece. When the various parts meet face to face it's something of a eureka moment. ThisIsFakeDIY
Pitched somewhere between classical and performance art, [HandsFree] is essentially a work about body percussion, fantastically planned and choreographed. The players clap, stamp, shuffle, shout and sing. The rhythmic sound patterns are mirrored by platform routines of considerable complexity. Meredith throws in a few Ligeti-like ululations to form points of stasis or relaxation, but the overwhelming impression is one of mounting exhilaration. It's a tour de force for the NYO, who performed it from memory and were greeted with a standing ovation, richly deserved The Guardian
exhilarating...mesmerising The Times
breathtaking...astonishing The Huffington Post
wicked The Independent
Nautilus' is SOOO good, that it not only made me cackle out a 'WOW!', but provoked me to hold my stomach, in the full expectation that something well sinister was in there, yearning to get out. MUSIC THAT MAKES YOU QUESTION YOUR INTERNALS! Jesus, this is something else Single of the Year: Drowned in Sound
Simultaneously hilarious, oddly moving and deeply unsettling Guardian
playful, spirited, visceral, and smart Pitchfork
quite unlike anything else you are likely to hear Sunday Times Culture
an extreme sense of control and authority... an almighty track Dummy