Caroline Louise Miller


Caroline Louise Miller’s music broadly explores affect, biomusic, labor, tactility, and digital glitch. Her latest works have intersected with themes of fear, play, and abjection, the happiness industry in late capitalism, and hybridizing popular and electronic art music. Subsong (2017, fixed media) integrates field recordings into a gloomy sonic netherworld invoking qualities of early 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.