Will Long's work as Celer traverses a nebulous and morphing galaxy of sound that centers around textured ambience and extended durational pieces. A long-time resident in Tokyo, his work explores the way in which sound can operate in an evolving atmosphere, coalescing with everything, and everyone, around it. With In Light Of Blues, Long pivots away from long-form works to create a series of vignettes that capture the essence of his aesthetics interests. The record condenses and refines his compositional methodologies forming each piece as an acoustic miniature speckled in hazy harmony and evocative tonality.

From Will Long: "It was months ago, but it could have been weeks, days, or even hours since then. I stopped wanting to hear loops, I wanted to stop it. I added brass; trumpets, trombones, and more horns. I cut it out like words from a book, and sewed it back together. Burroughs. These movements are merely to stay alive, to stay moving. You wake up from a truck horn passing in the early morning hours on the nearby freeway, or from a dream that you can't tell was a nightmare or a loving memory. Someone walks by on the street wearing the same perfume. I drew out each place, each scene, and put the story there. It might have been with you, or without you. All I know is that you were there some-how the whole time, even if you weren't. I saw rainbows from under the bridge by the river, and the sun shot up through the clouds of the golden hour. It didn't help, and there was no one around. Your chest is even with your knees, and you're sitting in the dirt. The sun keeps going down, and eventually you make your way home. It's not very much the same as it was anymore. The horns are deafening, but after, the echoes let me see the way away. The light keeps coming, and it keeps going. Songs of surroundings, the silent, the heartbeats, the tears. We've all had them, and we'll never be rid of them."