About

Felicity Mangan is an Australian artist and composer based in Berlin, Germany. Her investigations and works are primarily influenced by the biomes of wetlands, waterways, and soil. She combines field recordings, electroacoustic composition, and electronic music techniques to create immersive, quasi-bioacoustic music aided by digital audio tools. Her compositions have been presented in multichannel installations, live performances, site-specific settings, and published works.

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. Creepy Crawly (Mappa Editions), Bell Metal Reeds (One Instrument), Wet on Wet (Warm Winters Ltd./KlangKlang), Train tracks...(Possible Motive), Körner Park Single (Care of Editions) and more recently String Figures (Elevator Bath) and Mud Flats (Superpang). 

Felicity has presented projects in many different settings, from galleries, gardens, clubs and festivals throughout Europe, including National Gallery Denmark, Technosphärenklänge CTM/HKW, Sonic Acts, INA GRM (Groupe de Recherches Musicales) Paris, RIVERSSSOUNDS.org and sound design for 100 Climate Conversations, Powerhouse Museum, Sydney, Australia.

Contact / Bookings: felicitymangan@gmail.com

Digital Release ‘Mud Flats’ Superpang

‘For this Superpang piece, Mangan combines field recordings from the Wadden Sea, an intertidal landscape of tidal flats, wetlands, and estuaries at the mouth of the Elbe River, with modular synthesis sessions on the Serge and Coupigny systems during residencies at INA GRM, Paris (2023), and EMS, Stockholm (2024). Through frequency modulation and analog synthesis, Mangan re-shapes the hydrographic rhythms of shifting water and mudflats, with the eerie resonance of foghorns and ships echoing across the waterfront.’

Solo LP ‘String Figures’ Elevator Bath

“[I]t’s a quiet stunner. I don’t know exactly how she made it […] but the results certainly feel like she’s harnessing waves as they arc through the air.”
— Philip Sherburne, Futurism Restated

“While much of ‘String Figures’ is peaceful, drifting ambient sounds and environments, the electronic crunches and the tones that lean more towards the low end of the frequency spectrum give the album a distinct character. Never noisy, but never purely spacious either, it is the perfect balance of sounds.”
— Creaig Dunton, Brainwashed

“Despite the complexity of the materials used, “String Figures” feels cohesive as an album – an impressive, often otherworldly work that oscillates between electroacoustic composition, nature recording, and experimental electronics.”
— African Paper