who

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"Jaeger works her machines with the dexterity of an expert pianist — her primary instrument growing up — maneuvering fingers, hands and arms with a graceful urgency. On her Soundcloud page, Jaeger tags her music as “future R&B,” which aptly describes her approach. Her tracks aren’t four-on-the-floor house or techno stompers. Rather, they flicker like a flame on a window sill, steady but prone to wild fluctuations whenever wind arrives."  

-Randall Roberts, LOS ANGELES TIMES

"Hil Jaeger is a must see. She will throw you completely off and bring you back to the center, ground you, then blow you away again. You will feel first like you’ve been hit by a wind storm, then as if you are an object caught in said wind storm, then that you are the wind itself, and finally morph into a sound wave running through the custom built microphone Hil uses for howling into the depths of your soul."

- Farida Amar, UNRAVELED ARTISTS

"Her work has been on rotation for some time at the Cougar HQ and I’m glad to finally expose the multi-talented Hil Jaeger. Her tracks sound like a brilliantly bizarre cross between Kate Bush and The Knife with their moody keyboards, exuberant vocals and somewhat mystical vibes. Meanwhile her remix of ‘Reckoner‘ gives the track a tribal feel that is unprecedented"

- COUGAR MICROBES

"TXT is a lament made for and from the ear and the heart, the aural embodiment of a daydream rooted in longing. Jaeger harmonizes the natural and the synthetic in a world where a lost phone is a phantom limb, where we are all in constant connection (or wonderfully, per Jaeger, “in relation to the universe, we are all sleeping in the same room”). And when love lives across distance, tech becomes talismanic (and being offline, ominous). In TXT, silence is monstrous — the still phone, the stalling heart. Jaeger rails against silence with textured sounds: vocals morphing pitches, refrains crossing echoes, vibrant baseline carrying instruments in emotional polyphony (a plaintive horn, restless percussion, steady snaps, digital ephemera). Scattered arpeggios add to its wistfulness, chords breaking down in tandem. Form is content, and the felt result is a pensive, dreamy account of modern heartbreak in both voice and message. Jaeger sings — “who ever said there’s peace in quiet?” Here, there isn’t, but there is peace in being immersed in Jaeger’s raw intensity, one that moves and transports."

-Hannah Park, Variety Future of Films

Trained as a classical pianist and composer, Jaeger first reached success in the classical world, performing at Lincoln Center at age 17 before getting her hands on her first digital music software program. Discovering audio production, she took those classical practices and applied it to her work as producer and performer, while studying sound engineering and midi interface-building, graduating as the only woman in her entire program of Music Technology from California Institute of the Arts (CalArts). Exploring the blurring of popular form with experimental practices, she is currently a candidate for an MFA in Electronic Music at Mills College. She fuses classical composition, beat making and audio production along with altered identities of her own voice to create her unique and innovative brand of avant pop.

 

Jaeger got her first taste of commercial success earlier this year, when in January KCRW’s Raul Campos debuted her track “Run (November)” on his afternoon show. The following day KCRW featured the track as “Today’s Top Tune.” In February the Los Angeles Times premiered her first music video for her single “Solow (April).” The video was entirely hand cut and edited by Jaeger herself, meant to reflect her specific practice of music making in which she cuts and slices hundreds of pieces of "digital" tape. This process allows her to create surgically manufactured irregularities, which are meant to explore the notions of technological flawlessness and human imperfection.

 

As a queer artist, Jaeger explains that “the connection to one’s own voice and the role it plays in determining gender and identity is salient, and never before have we been able to manipulate, alter, and process it so acutely and with such nuance. As a vocalist, I have focused on the ideas of composing for specifically altered identities of my voice. Through spectral analysis, physical modeling and pitch shifting, along with the creation and building of a live voice midi interface, my work focuses on the relationship between the organic and digitally rendered. I am aesthetically engaged in the play of binaries between the processed and retransmitted voice, and its role in determining singularity and identity expression.”