Red Rock, Seal Skin Camilla Wickman

• 1 Sealskin 03:21
• 2 Cailleach 04:40
• 3 Orderville 02:42
• 4 Dry Land 04:18
• 5 O Pioneers! 03:54
• 6 Horsey 02:48
• 7 The Celestial Room 03:46
• 8 St. Anthony 03:58
• 9 October's Daughter 04:59
• 10 Rock of Magdala 05:19
• 11 Rán 02:34
• Total Runtime 42:19

Info for Red Rock, Seal Skin

"Red Rock, Seal Skin" began as a university project relating the ecological writings of Terry Tempest Williams, Robin Wall Kimmerer, and Mary Oliver to personal meditations on their own transition out of organized religion.

The result is an eleven-track cinematic dream sequence through Celtic and Scandinavian folkloric archetypes, familial memories, fables, and concealed histories of a colonized Utah. Occasionally confrontational, Red Rock, Seal Skin is a post-Mormon’s earnest inquiry into the nature of rootedness after rupture.

Camilla’s sound is suspended between lilting orchestral folk, jazz, and jagged, 70’s-inspired progressive rock, joining a chorus of eclectic songwriters like Weyes Blood, Mitski, Anaïs Mitchell, Joanna Newsom, Tori Amos, and Fiona Apple.

Camilla Wickman, vocals
Sam Silverstein, violin
Joseph Noh, violin
Cindy Shi, viola
Natan Holtzman, cello
Wren Reeve, Bodhrán
Dorsey Crocker, fiddle
Chris Sor, bass
Nathan Sariowan, bass
Dorsey Crocker, bass
Sid Yu, drums
Taylor Goss, guitar

Camilla Wickman
(they/them) is a singer, storyteller, and plant lover with a Gemini stellium. They received their B.A. in Music Composition with a minor in Comparative Studies in Race and Ethnicity from Stanford University in June 2023.

Their influences include explosive femme musicians like Tori Amos, Mitski, and Minnie Riperton. Camilla braids poetry into lush vocal textures with the rhythmic gait of piano rock, creating what one listener had called “operatic folk,” a label they will claim until it no longer fits.

Inspired by the Norse cosmological idea of Öorlog (or ancestral debt), their music acknowledges that the personal is always political, and they hope it will encourage European-descended listeners to consider their place in the evolving myth-reality of the colonial imagination.

They have also worked as a sound designer, live sound engineer, and composer of incidental music for a number of Stanford venues and theater projects, including Solstice Party, Among the Dead, and Question 27, Question 28 with additional experience as a recording engineer for Stanford Counterpoint.

In keeping with their interest in ancestor work, they arealso a student of the tin whistle and Irish Sean-nós singing, with an aspirational list of instruments that includes the Irish flute, bodhrán, Swedish nyckelharpa, and the Celtic harp.

This album contains no booklet.