»When the Distance is Blue« is Macie Stewart’s International Anthem debut. The Chicago-based multi-instrumentalist, composer, and improviser describes the collection as »a love letter to the moments we spend in-between«—a letter realized via an intentional return to piano, her first instrument and the origin of her creative expression. Here Stewart creates a striking and cinematic work through collages of prepared piano, field recordings, and string quartet compositions, one that gives shape to a transient universe all its own while tracing the line of her musical past, full circle.

Long-heralded in musician circles for her versatility, Stewart stands as a distinguished, go-to collaborator across genre and style, with a collaborative CV that reads like a dream year-end list—performing strings for Makaya McCraven or Japanese Breakfast; singing harmonies with Tweedy; arranging for Alabaster DePlume, Resavoir, Mannequin Pussy, or SZA; co-leading the jagged art-rock experimentation of Finom, her duo with songwriter Sima Cunningham. This varied-yet-distinct sound has led to a name recognition that goes beyond the devoted liner note enthusiast.

»Macie Stewart has had a hand in making some of the best tracks of the past five years transcendent.« (Pitchfork)

»When the Distance is Blue« finds her gathering those threads and focusing those sensibilities into an 8-piece song cycle. The first sessions were recorded with IARC house engineer Dave Vettraino at Chicago’s Palisade Studios in early 2023. The piano was prepared with coins and contact mics, creating harmonically and texturally rich sounds to explore and improvise alongside.

Those improvisations eventually became nestled within a growing collection of Stewart’s field recordings. 2023 was a year marked with extensive touring, during which she collected dozens of aural snapshots from airports, stairwells, and crowded markets, effectively compiling an audio journal of her travels. Weaving their way throughout the record, those recordings form a collage of sound, movement, and memory.

»I wanted to recontextualize these recordings and evoke a nostalgia for something I wasn’t able to name,« says Stewart. That recontextualization was deepened by further performances and improvisations by Lia Kohl, Whitney Johnson (Matchesse), and Zach Moore, all recorded at Comfort Station in Chicago. It’s fitting for such a fervent collaborator that these collaborations began to bring the musical scope of »When the Distance is Blue« into focus.

»Spring Becomes You, Spring Becomes New« begins with a series of unmetered and searching prepared piano repetitions before blooming into a rhythmically pulsing waltz of ennui à la Margaret Leng Tan’s approach to the material of Cage or Crumb. Electronically enhanced sustaining notes merge with droning violins in a dense teapot upper register, then are slowly paired away to reveal the inner layer of consonance and comfort, as the metallic rhythms of the prepared piano are co-opted by pizzicato plucked strings. When the sound of the piano re-enters, it’s in its natural, unprepared state and in service of a simple melody—a slow-moving earworm, the final repetition, carrying the dynamic piece to its end. »This piece reminds me of a cross-country train ride through different sceneries and landscapes,« says Stewart. »It’s the feeling when you’re witnessing everything pass outside your window, knowing you may never set foot there.«

What’s more, this conceptual train ride is one that touches on many of the themes throughout the record—traveling through pieces like »Tsukiji«, which consists of field recordings taken during a walk through the crowded Tsukiji Fish Market in Tokyo, or »Stairwell (Before and After)«, a serendipitous collage of piano improvisations overlaid with vocal improvisations recorded in a beautifully reverberant stairwell in Paris, France.

In the album’s final piece, »Disintegration«, Stewart’s through-composed quartet arrangement bends and contorts in a microtonal descent. Raw harmonics scrape and pull, whistling flute-like across desolate valleys, as strings spiral into an unknown beyond. From this stripped, warped place, we face the inevitability of transformation and embrace the possibilities of change.

»When the Distance is Blue« is a companion piece for moving through life. A source of solace when we are unsure where we will land. The album draws its title from Rebecca Solnit’s book of essays, »A Field Guide to Getting Lost«. Stewart, too, contends with the longing for all that lies out of reach and gives shape to that longing throughout this contemplative collection with a musical lexicon which lands somewhere between Alvin Curran’s »Songs and Views from the Magnetic Garden« and claire rousay’s »A Softer Focus«.