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, artist or installation, Felicity plays her found native Australian wildlife archive and other field recordings – exploring the timbre of animal voices and field recordings to create minimal quasi-bioacoustic environments. Felicity has released a solo publication on Australian based Longform Editions titled Stereo’frog’ic in 2019. In 2020 she released a tape titled Creepy Crawly on Slovakian based Mappa Editions. Felicity has presented projects in many different settings including galleries, gardens, clubs, radio and festivals throughout Europe. Including National Gallery Denmark, Technosphärenklänge CTM/HKW and Sonic Act Academy 2020.
Contact: felicitymangan@gmail.com

Somewhere between the buzzing Cyborg bugs and the whistling of extinct birds. Welcome to the hybrid zoo built on the ruins of the biotic crisis. You can explore the chirping, singing and trilling of birds and insects, which you know from pictures of cryptozoological encyclopedias or go straight to synthetic ornithology, where you can listen to mutated biorhythms. Everyone knows Mockingjay call, but who heard the voice of the Double-headed emu or the rustle of invisible community living in the crown of the Muku tree? (Mappa, July 2020)

Stereo’frog’ic is a play of the word stereophonic – to play with the illusion of multi-direction audible perspective – in this case presenting a quasi-bioacoustic sound piece, crafted from found recordings of frogs, insects, a recording of an animal scattering in the bushes and other ‘vocal’ animals wavering about in the stereo field. (Longform Editions, March 2019)
*Also presented as Quadra’frog’ic in a quasi-quadraphonic performance installation setup, with a stereo sound system and piezo transducer speakers attached to found objects.
Review in A Closer Listen