In the last of our live radio series, classical composer turned sculptural producer Anne Meredith discusses the importance of shape in song and how she’s gone from making scores for the proms to bangers for the club
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The final instalment in our series of live radio shows on east London station NTS concludes with someone who can certainly teach us a thing or two about music, Anna Meredith. Hugely respected in classical music, she is the former composer-in-residence with the BBC Scottish Symphony Orchestra, prompted many a chin-stroke with her performance at the 2008 Last Night of the Proms and has helped to bring classical music to a new generation of listeners.
More recently Meredith has turned her considerable composition talents to the grey area between indie, electronica and, um, hair metal. “I don’t want to write music that people are enduring just to get to the Elgar in the second half,” she said in a recent interview. Cue her acclaimed debut album, Varmints, which came out earlier this month on the indie label Moshi Moshi and was named Best New Music by Pitchfork. It deploys maximalist, Hudson Mohawke-style horns and 80s video game sounds to grandiose effect.
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