A fictional recording identity
Aurelia
Vale
Desire has a threshold.
I decide where it is.
The Album
The Distance
I Allow
At its heart, The Distance I Allow is Jacqueline L Waters’ music brought to life through Aurelia Vale—a character who first emerged in The Doll House and refused to remain on the page.
Jacqueline has been playing keyboards since she was seven; here, a lifetime of melody and private imagination becomes a voice, a presence, and a stage. Across nocturnal alternative R&B, expressive keys, and deep electronic pulse, Aurelia sings Jacqueline’s songs as if she had been waiting inside them all along.
Music Video Coming Soon
Black
Glass
“Lean closer.”
Black Glass is a midnight romance of muted piano, nocturnal synths, and slow-burning alternative R&B. Aurelia draws you close enough to feel chosen, then turns away—leaving you alone with her silence and everything you revealed in the glass.
The artist
Commanding.
Fluid. Fictional.
Aurelia Vale is fictional. The music is not. She began as a character in Jacqueline L Waters’ The Doll House, then became the woman standing at the center of the songs Jacqueline wrote.
Through Aurelia, cinematic alternative R&B and nocturnal electropop become something larger than a soundtrack: intimate, glamorous, emotionally fearless, and alive enough to step off the page.
Stay within reach
The first signal
arrives here.
Authorship & process
Made with intention.
Credited with precision.
Aurelia Vale is a fictional vocal identity.
Written, arranged, performed, and produced by Jacqueline L Waters.
The music began with Jacqueline performing most instrumental stems on a MIDI keyboard and recording real electric guitar—long before AI entered the process. AI tools were later used for Aurelia’s vocal performance and selected production elements; every result was directed, selected, rejected, replaced, edited, arranged, and mastered by Jacqueline through Ableton Live, Ableton Push, Suno, and Suno Studio 2. AI-assisted imagery and motion are identified in each video’s detailed credits.
