The music of artist Kathryn Mohr, based in San Jose, exists in a liminal space of auditory dissociation. Drawing inspiration from lost objects washed up on the shores of San Francisco Bay, Mohr's art explores the ephemeral nature of humanity, the distortion of memory, and how trauma alters one's experience of this world. Her new album, Waiting Room, was written and recorded over the course of a month in eastern Iceland, within the walls of an abandoned fish processing plant, surrounded by isolated nature. Mohr spent hours immersed in writing and recording this album in a windowless concrete room illuminated by a string of multicolored bulbs (which appear on the album cover), taking breaks to wander through the factory or disappear along the shore, field recorder in hand.
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