Roger C. Miller, most known as the guitarist of Mission of Burma, recently returned with Curiosity for Solo Electric Guitar Ensemble, a mesmerizing new album released by Cuneiform Records. Performed live using four electric guitars, looping devices, and stereo effects, the record blurs the lines between composition, improvisation, and sonic exploration.
At 73 years old, Miller’s curiosity remains undimmed, and on this latest release, it sounds as vital as ever. We recently spoke with him about dreams, surrealist games, and the projects he’s working on, among other topics.
Interview with Roger C. Miller
Third Eye: “Curiosity on Mars” transforms NASA rover photos into music. What was your process like in interpreting these images into a song?
Roger C. Miller: I used five photos taken on Mars by the rover Curiosity. The first and fifth photographs are broad, wide shots of distance mountain/hills. I treated these a bit impressionistically, though still following the basic form (left to right) giving a sense of wide wonder and beacons from Earth sending information.
For the three middle photographs, I used the graphic imagery entirely, nothing impressionistic. So when a dark line in a rock shoots up towards the right, the slide-guitar does that: a quick glissando upwards. When there is a central dark rock that predominates, I pause and work around a specific sound. When there is a lot of loose scattered rocks, I produce more vague, non-rhythmic sounds. Where it feels there is movement, I follow with guitar lines based on a pulse.
So it’s a mix of impressionistic and directly following the images. Which is not unlike using dreams for structure.
Third Eye: Do you approach creativity differently now than you did in your twenties or thirties? What continues to drive you to create?
Roger: I wouldn’t say I approach it differently, but with more focus. Mostly it just happens. Things build up and then they appear.
For example, my new song cycle (see “Unplugged from a Band” below) barely poked out into the world over the last few years while I worked hard on my “Solo Electric Guitar Ensemble” music, which is all instrumental. But last fall, I suddenly found that I had stored up a bunch of guitar riffs that suddenly and easily became songs with vocals and lyrics.
As if I had stored that aspect of my work up, and it was waiting to appear when the time allowed. Currently, almost any time I sit down with the guitar and think about writing, something shows up. It’s kind of blowing my mind really. Metallic Blue, most of them.
Regarding the Dream Interpretations, I just choose a dream that looks like it could translate into music well, map it out and start on it. Everything that happens in the music is BECAUSE something happened in the dream.
So, in that case, I just follow the path. I could continue doing these forever, finish one then start another one. But I think I am changing my focus to the “Unplugged” guitar music now. At least that’s what seems to be happening.
Third Eye: Are there bands today that carry on the Mission of Burma ethos? Not just the sound, but the spirit of risk and rigor?
Roger: Sapling. Land Owner. Minibeast. Trinary System. Shellac (rip). A Band Called “E”.
I’m sure there are many more that I don’t know of. I don’t see there as being a specific scene for it, like there was back in the day. But small scenes exist all over the place, and because I don’t tour as much as I used to, I don’t know most of the details.
Third Eye: What draws you to surrealist games, and what happens when musicians play them? Does it rewire the creative process?
Roger: The games are primarily visual or verbal – drawings, or wordplay. Not so much music. I love them because, no matter who you are, whether you think you can draw or write, you will become part of a unique result. It is the nature of the Surrealist Games because they are collaborative and operate via chance.
I’ve seen people sit down together that had never met, but in half an hour are talking like old friends. Because the games bring forth one’s unconscious, but in a safe environment, on paper. So one connects with others in a sort of subversive, underground, yet fun manner. It’s not only just fun, sometimes it’s quite profound.
Third Eye: What’s something you used to think was essential in music that now feels optional? Or vice versa?
Roger: Extreme Volume (!).
Third Eye: What does the next phase of your musical journey look like? Are there directions you haven’t explored that you’re just beginning to consider?
Roger: “Solo Electric Guitar Ensemble”:
I am touring on the “Curiosity” CD through the fall, but, at least at the moment, I think that might be it. At least for a while. It’s extremely difficult music to play live.
“Unplugged from a Band”:
As mentioned above, this is really just plain happening for me. I am preparing to record an album. It’s easy to tour on, because it’s quite simple (unlike the “Solo Electric Guitar Ensemble”). It’s more casual in the sense that I can stretch things out if I want, i.e., things are not so tightly structured. I can just show up, plug in, have a beer and ready to go! That’s quite a relief after the touring I’ve been doing on “Curiosity”.
“The Trinary System”:
My last actual rock band. We have a new album, The Hard Machine on Cuneiform Records, Halloween 2025. It’s quite psychedelic actually. The other players are amazing and we work extremely well together. Unlikely that we’ll do much touring, though, for practical reasons.
“The Anvil Orchestra”:
I play keyboards and I am the manager. We are usually a duo, sometimes a trio. We tour nationally and sometimes internationally, accompanying silent films with our own compositions/improvisations. We have done this for years. One is treated really well at film festivals, the pay is great, and it’s primarily really fun and a great creative outlet. It’s helped me stay on my financial feet for years!
Roger Clark Miller: Bandcamp | Official Website
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