A collection of interviews, reviews, awards, and photographs from print and digital publications.  
 

© 2019 s P L e e N C o F F i N

On Spleencoffin:
www.spleencoffin.com/portfolio/liz-meredith-repro

Press:
“Meredith’s gestures are simple and seemingly impulsive. Recurring drones that whirr and cough. Harmonics snagged on the sharp edge of the looper return. Yet endurance renders them profound, just how even the most everyday objects accrue a quiet wisdom as their colours start to fade and mud smatters their surfaces.”
- Jack Chuter, ATTN Magazine

“Meredith is a true electroacoustic adventurer, utilizing viola, electronics, and tape loops to unfurl drones behind her as she progresses, as if she were alone on a slowly drifting boat and the sounds were the memories of her passing.”
– Ryan Masteller, Tiny Mix Tapes

“Four pieces, all dealing with loops, so I would think, and in each of them this is worked out in quite a different way, and yet Meredith keeps it all close together by using a very minimal approach every time. That is the thread that runs through these pieces. This is all quite a surprise! It is a very great and consistent record. It begs the question: why act so obscure? This is a great record; something to be proud of.”
– Frans de Waard, Vital Weekly

Limited edition 12" record (LP).  Record pressed to dark turquoise blue marble colored vinyl.   Album packaged in original artwork by Liz Meredith. 

On Bandcamp:
www.lizmeredith.bandcamp.com

© 2012 Liz Meredith 

Press:
"Last month, local violinist and composer Liz Meredith released a self-titled LP featuring two luxuriant, sidelong immersions into subtly shifting moods. Surprisingly, it's her first proper solo outing and it features two pieces she's been working over the past decade. This debut is surprising only because it feels like Meredith has become a versatile presence in local avant music, plying her string brio in High Zero/Red Room lineups and delivering hypnotic solo sets-surely she's set sound to wax sometime before? Turns out she hasn't, instead spending the last decade impressively honing her skills and ideas: She studied viola with the Kronos Quartet's Hank Dutt and composition with Fred Frith, the British guitarist who put the wiggy beauty and gnarled thrusts into Henry Cow, the Art Bears, and Naked City. Well, her patience has paid off. Liz Meredith is a gorgeous plunge into a plaintive mood, a place where rising and falling electronic textures and drawn-out viola lines cast soothing shadow plays on the brain. The glistening Side B clings to the ears the longest, the sound of a slow, cinematic fade-out that takes nearly 20 minutes to move from a tight close-up to a widescreen vista, every increment recalibrating the emotional kick of the image being branded on the mind's eye".
- Bret McCabe, Baltimore City Paper (2012)

Free improvisation is at the heart of much of my practice as an instrumentalist and also as a composer. Career highlights include being a featured improviser at Baltimore's own High Zero Festival in 2010 and 2021, Experimental Sound Studio's "The Quarantine Concerts Series" for Spleencoffin Record Label Showcase, the Impermanent Society of Philadelphia's Philadelphia Free Form Festival in 2016, and for Baltimore's Ratscape Festival in 2019; in collaboration with NYC-based master Butoh choreographer Azumi OE.