Events

May 13 2017 | 8pm
Vivarium
SPOR festival
Aarhus, Denmark

May 26 2017 | 8pm
Hydra Nightingale
Kyle Motl
Center for New Music
San Francisco, California

June 3 2017 | 8pm
Tarantella Carbine
Synchromy
Boston Court Performing Arts Center
Pasadena, California

June 15 2017 | 7:30pm
Elliptic
SPLICE Ensemble
SPLICE institute
Western Michigan University

June 17 2017 | 8pm
Hydra Nightingale
Kyle Motl
Scholes Street Studio
New York, New York

September 22 2017 | 5pm
Hydra Nightingale
Kyle Motl
UC San Diego

September 24 2017
Elliptic
SPLICE Ensemble
Strange Beautiful Music 10
Detroit, Michigan

October 27 2017
Premiere of Subsong
Experimental Theater
UC San Diego

Caroline Louise Miller
composition & sound design

Projects

Contemporary classical magazine I CARE IF YOU LISTEN reviewed SPOR festival and my latest work Vivarium. Check out the review here!

Vivarium premiered in May. It was performed by myself and Anna Jalving. Amplified, magnified pomegranates are dissected with hand tools, medical instruments, and fingers to explore a grotesque spectrum between the surgical and the orgiastic. Fruit, as an everyday substance of desire, consumption, and nourishment, opens a window into lives of matter that are animated by human experimentation, obsession, and sensuality.

 

How to survive a 100-hour workweek

This musical theater work explores bodily and vocal relationships to labor, institutional discipline, and glitch in late capitalism. Laborers (played by Hillary Jean Young, Ashley Cutright, and Jonathan Nussman) struggle to stay afloat amidst snippets of inspirational advice from iconic voices and lifestyle video bloggers. A fourth laborer (played by Constantin Basica) operates a wooden crank that feeds advice through the speakers at different speeds. The ending chorus, To Choke, unfolds in a surreal soundscape of church organ, arctic seals, a Sibelius symphony, a marching band playing Christmas hymns, and charcoal crackling.

 

New electro-acoustic work

I've spent much of this summer in the studio, stitching together an electroacoustic work called Subsong, influenced by future bass, glitch pop, and acousmatic music. I recorded many of the singing and clapping samples in an enclosed space of smooth concrete, on Laguna Mountain, Southern California. I pulverized, distorted, and squeezed the sounds through claustrophobic and cavernous spaces, digital nightmares and underground bunkers.