photograph by Lyndsay Bloom

Each of my works reflects the same basic fascinations: tactility, sociality, wildness, excess, violence, and dreams.
My 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 enjoy 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 human social relations (known or theoretical.) I frequently draw material from behaviors and sounds of non-human life, particularly animal voices.
Sounds that I really like: 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, and glittery, ostentatious gestures evoking late romanticism. Manifestations of these elements in my work can be extremely different from piece to piece. When collaborating with performers, filmmakers, and other creative people, I prefer to sit down for a coffee or a drink and share ideas, keeping an open dialogue throughout the process of creating the new work.

B i o g r a p h y

In June of 2013, Caroline L. Miller embarked on a research expedition in the Philippine Sea, sailing from Taiwan to the Republic of Palau as part of an oceanographic science party. The class politics of ship life, hours of physical labor in the tropical humidity, and adventures on deck alone at night fundamentally changed her attitudes toward music and life. Since that time, C.L.M.’s music has been devoted to the modeling of human social relations, behaviors of non-human (animal, plant, etc.) life or theoretical organisms, and kinesthetic and tactile aspects of composition. Her current written research focuses on: intersections between digital glitch aesthetics, materiality, and tactility in post-dubstep electronica; the electronic music scene in the Midwest; and biomusic.  

Since 2012, she has organized and curated annual freeform concerts at the Birch Aquarium at Scripps Institution of Oceanography. Immersion@Birch Aquarium, now going into its sixth year, has drawn over a thousand visitors from the San Diego county community since its inaugural event, and has 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. She has recently enjoyed performances by Synchromy, SPLICE, Kallisti, Forest Collective, WasteLAnd, Wild Rumpus Ensemble, and the Inoo-Kallay Duo; and her works have most recently appeared at SPOR, SCI, SeAM-festival for Elektronische Musik, NYCEMF, Hear Now Festival, SEAMUS, SoundSCAPE, The Only Way is Ethics Festival, and UCSD's own Springfest. 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 in San Diego, California.