photograph by Lyndsay Bloom

Each of my works reflects the same basic fascinations: tactility, sociality, wildness, excess, and dreams. The sense of touch always plays a huge role in composing, performing, and listening. When writing my percussion duo, for example, part of my compositional process involved exploring a sea of instruments blindfolded; feeling my way through materials and surfaces both rough and smooth. I am fascinated by the inherent tactility of sound; the shift from a low square wave to an equally low sawtooth wave, for example, is something to be felt.
When considering interactions between bodies engaging in musical activity, I often model social relations (known or theoretical.) I frequently draw material from behaviors and sounds of non-human life, particularly animal voices.
Sonically, I often use instabilities upon smooth surfaces of harmony and resonance; ornamentation; disruptive and noisy eruptions within serene environments; glitches and blocks of noise and drone; jagged transitions; contrasting materials (or even entire songs) that are starkly layered atop one another; mashup and remix, glittery gestures, and qualities evoking late romanticism. Manifestations of these elements can be extremely different from piece to piece. With collaborators, I prefer to share ideas, keeping an open dialogue throughout the process of creating a new work together.

B i o g r a p h y

Caroline Louise Miller’s music explores affect, biomusic, labor, tactility, and glitch. Her latest works have intersected with themes of horror and abjection, rising work hours (yet stagnant wages) in late capitalism, and hybridizing popular and electronic art music. Subsong (2017, fixed media) integrates field recordings into a gloomy sonic netherworld invoking aesthetics of 1940s musique concréte, future bass, and glitch pop. Vivarium (2017) for tactile performance with amplified, magnified pomegranates, was funded by and premiered at Denmark's SPOR festival as part of the European Capital of Culture. In 2013, Caroline spent two weeks as an artist-in-residence aboard a Scripps Institution of Oceanography research vessel, working intensively with scientists and taking field recordings on the ship as it sailed from Taiwan to Micronesia. From 2012–2017, she organized and curated annual freeform concerts at the Birch Aquarium at Scripps Institution of Oceanography. Immersion@Birch Aquarium drew over a thousand visitors from the San Diego county community since its inaugural event, and incorporated musics as diverse as experimental chamber, gamelan, American folk, soul, free jazz, drone, and noise; as well as installation, film, and poetry.

C.L.M.'s music has appeared around the world. With SPLICE Ensemble, she is the recipient of a 2018 Chamber Music America commission. She has most recently enjoyed performances by Synchromy (LA), SPLICE (Brooklyn), Kallisti (San Diego), Forest Collective (Melbourne), WasteLAnd (LA), Wild Rumpus Ensemble (San Francisco), and the Inoo-Kallay Duo (LA), and her works have most recently appeared at Darmstadt Summer Course for New Music, BEAMsfest, Strange Beautiful Music, SPLICE festival, Subtropics, SPOR, SCI, NWEAMO, SeAM-festival for Elektronische Musik, NYCEMF, Hear Now Festival, SEAMUS, SoundSCAPE, The Only Way is Ethics Festival, and SD Soundings. Elliptic for percussion, piano and electronics is published on populist records.

Caroline is a Ph.D. candidate in music composition at UC San Diego. Her committee consists of Katharina Rosenberger, Amy Cimini, Miller Puckette, Anthony Burr, and Ricardo Dominguez. She currently lives and works in San Diego, California.