Q: What separates Leor Miller from any other 19 year old with a guitar and feelings?
A: Restlessness, a definitive sense of identity, and lots of songs.
Miller has released no less than 10 full length recordings in the past year, the latest of which is appropriately titled TRANSGENDER SUPERSPACE. They’ve done it all with few resources outside of a teal Fender Jazzmaster and their own experiences as a transgender individual, which have profoundly impacted Miller’s (quite literal) take on bedroom pop. Their recordings are raw, but not at all unrefined – atop the biting sonic clutter, you’ll find an intuition for melody and song form, filtered through the lenses of modernity and accessibility. Miller’s music is a statement, one which refuses to be manipulated, but it’s also incredibly available to those who want to get inside and take a look around.
“the days are just days” is an exercise in hypnotic disconnection. It begins with an effortless-yet-jagged acoustic guitar riff, reminiscent of post-rock forefathers Slint. Miller’s entrance is understated; their vocals blend into the mix at first, gradually rising higher and higher, before dissolving back into the groove. “And everything is changing but I can’t pinpoint the way / it moves like a stationary bike,” they sing with an energetic disinterest, putting the listener in an odd space between emotional investment and theoretical alienation. Miller communicates their impressions and sentiments with precision beyond their years, filling their music with paradoxes, creating a happy confusion. Their “sexual disorientation” is felt, heard, and understood.
Written by Preston Fulks