The Angel
Brooklyn-born
recording artist, remixer and DJ The Angel has impeccable credentials. She
has collaborated with UK drum ’n’ bass talents and is one of a
handful of women scoring film and TV soundtracks
Words David G Taylor
What was it like to be in New York when the Aids epidemic began?
Carefree and wild. Everyone I knew, both gay and straight, practically lived
at the clubs and our youth and vibrancy made us feel invincible. Then one
friend in his early 20s became ill. There were rumours about cancer, but it
was hard for anyone to believe. Within a year he passed away. At the time,
no one even had a name for the horrible illness that took his life.
How has HIV affected your life?
I’ve lost close friends, both gay and straight, astonishingly young.
These were the first deaths I experienced as a young person and they blew
my mind. Most shocking for me was learning one of my cousins was HIV positive.
He passed away from a heart attack, but none of the family had any idea he’d
been battling with HIV for years. I was told he was frightened that his family
would treat him differently. It was heartbreaking to hear. No one should have
to deal with something this devastating in virtual isolation.
Have you ever been asked to perform at any HIV benefits?
I try not to do much touring, so I’m not on the ‘benefits’
radar. I have fond memories of doing the Walk for Life when I was in London.
How did living in the UK help shape your career?
It introduced me to a much more open approach to making music. UK artists
are much less self-conscious and genre driven. Living in London gave me more
flavour to draw from.
How would you describe your sound?
My sound evolved on the streets of Brooklyn, via London, with a twist of Bristol
thrown in along the way. The Angel material is more leftfield with hints of
hip-hop, reggae, jazz, dub and soul-infused sounds with an otherworldly vibe.
You scored the film Boiler Room as well as contributing to Gridlock’d
and ‘Til There Was You. What prompted the leap from remixer to composer?
It was always some far away dream, and then I moved to LA and the opportunities
presented themselves through my US publishers who made early introductions
to directors and producers. By the time of Boiler Room, I’d honed my
skills and was eager to score an entire film, especially one where I could
use my urban sensibilities to tie it all together.
What are the particular problems of being a woman in a male dominated
industry?
If you are a woman in the industry you must be there for show. To be taken
seriously has become less of a problem for me since I’ve built up quite
a large body of work. In the film-composing arena, you’re up against
the old boys’ network. Few women ever get a look in.
Tell me about your involvement with Menhaj Huda’s new UK film Kidulthood.
Kidulthood is the first UK feature I have scored. Huda was great to work with.
He knows about music and has a good feel for how to use it in his films. It’s
a realistic and tough slice of west London life from the point of view of
a group of 15-year-olds and it deals with sensitive issues such as bullying
and teenage suicide.
So, what’s your next project?
I’m currently scoring an inspiring documentary called The Heart Of The
Game, about an all-girl Seattle high school basketball team. I’m also
scoring a Granada-produced TV show called The First 48 which follows real
homicide detectives across America as they attempt to gather information in
the crucial first 48 hours of an investigation. I’m also recording a
second album as The Angel.
And what are your ambitions for the future?
To maintain a happy and peaceful frame of mind, even while the world around
us continues to spin out of control.
• Kidulthood will be released in 2006. Find out more at
www.theangelsoundclash.com
or www.supacrucial.com
