Releases

itself between, of saying farewell

itself between, of saying farewell is an opera in two parts by Bridget Ferrill, Áslaug Magnúsdóttir and Olivia Rivière. Written through harp, electric harp, clarinet, voice, microphone, clavichord and electronics, the work moves through a strange and intimate parable of attachment, pain and release.

The opera explores how fear locates itself in the body, how devotion can harden into structure, and how care can become constraint. The language of the libretto is direct, unstable and image-rich, moving between dream logic, domestic detail, emotional analysis and theatrical address. A shoe becomes a house, a wound, a tradition, a method of attachment. A nail becomes both a fastening and a site of fear. Foot’s journey toward the House of Bliss is shaped by the weight of what has been fixed to it.

Ferrill and Magnúsdóttir’s sound world extends this drama through the fragile mechanics of plucked, keyed, blown and processed sound. Harp, clarinet and clavichord carry associations of older instrumental forms, but here they are made porous, partial and physically close. Electronics shift the scale of these materials, drawing out friction, resonance and instability. Rivière’s voice and microphone practice gives the opera a further bodily dimension, treating vocal sound as texture, utterance, breath and pressure.

The work moves between chamber opera and intimate theatre. Its emotional movement is carried through small changes of tone, repeated images and the pressure of quiet. The opera asks how a bond can be felt as shelter and injury at the same time, how a person might mistake holding for care, and how leaving can become a necessary form of attention.

24 July 2026, Discreet Archive

https://discreetarchive.bandcamp.com/album/itself-between-of-saying-farewell

Domschatzkammer

Bridget Ferrill presents a new body of work for Subtext recordings that foregrounds the harp while weaving together a constellation of contributions from instrumentalists, creating a record that is simultaneously enchanting and confrontational, soothing and antagonistic. Domschatzkammer draws from the aesthetics of minimalist classical music and Celtic folk music while animating themwith an anarchical punk spirit.

30 October 2025, Subtext Recordings

https://bridgetferrill.bandcamp.com/album/domschatzkammer

Woodwind Quintet

Bridget Ferrill & Áslaug Magnúsdóttir’s EP revels in the joy of complexity. A first collaborative release from the long-distance duo, Woodwind Quintet is an exercise in

contrasts that quivers with electric pulses and patches. They crack, split, and through intricately embroidered classical elements in intimate and unexpected arrangements. Sonic fragments and scrambled instrumentation are disrupted by signal noise and rapid tempo shifts. Illogical compositions lead the listener along a dynamic meditation on beauty in alienation.

20 July 2022, Subtext Recordings

https://bridgetferrillaslaugmagnsdttir.bandcamp.com/album/woodwind-quintet

Only

Composed during a whirlwind period of touring and sound engineering in 2019, 𝑂𝑛𝑙𝑦 functions as both a tranquil refuge and as a heartfelt appreciation for the source instruments' timbres. Berlin-based Bridget Ferrill crystallizes her professional recording experience and artist residencies into a singular focus on Buchla modular, harp, zither, and viola da gamba. Rather than an exercise in technical mastery, Ferrill's careful arrangements invite us to linger with each instrument; in her words, fulfilling the longing to "listen a little longer, a little slower". Every contour of the instruments is lovingly traced, a warm invite for us to join her in the exuberance of exploring their inner life.

06 December 2021, ENXPL
Listen / Purchase via enmossed or PL