The Ivors Committee commented she “stays true to her artistic concepts, to create unique compositions that connect to the listener with emotional depth and great beauty, never failing to leave a lasting impression.”.

Alongside her performance, Sarah researches the history of sound culture, presenting topics in print, national radio and at salon talks throughout Europe.

She began extemporising and performing live as a teenager in UK folk clubs - English folksong is evident in many of her electroacoustic compositions (e.g. Wan, on Air Loom, 2019[3]).

Angliss' score makes extensive use of female voices and electronics, as well as her robotic carillon (The Ealing Feeder), viola da gamba and augmented, contrabass recorder.

[7] Working as a theatre composer, Angliss has created music and sounds which blur the line between sound design and music for a number of theatrical works including Eugene O'Neill's expressionist play The Hairy Ape at The Old Vic, London and Park Avenue Armory in New York; Anne Washburn's stage adaptation of CBS cult TV series The Twilight Zone (the world's first official stage production of this series) at the Almeida and in the West End ("I’m trying to make sound that gets under your skin"[8]) ; Lucy Prebble's The Effect at the National Theatre (Cottesloe); and (Moss Hart and George S. Kaufman's) Once in a Lifetime at the Young Vic.

In 2002–2003, Angliss initiated and led Infrasonic[16] (aka Soundless Music) - an experiment to explore the strange psychological effects of airborne infrasound (sound below 20 Hz).

[24] In 2017, Angliss re-edited the original sound track of Sony-CBS TV series The Twilight Zone,[25] for a new stage adaptation by Anne Washburn (directed by Richard Jones, at the Almeida, London).