Driven by a patient devotion to sonic afterlife, memory, and material curiosity, Kara-Lis Coverdale’s dynamic work occupies a new plane built upon histories of electronic music and symphonic writing.
Coverdale’s work challenges the fabric of nature itself while articulating modern mediums and existence within them. A classically trained pianist with degrees in musicology and composition, she has worked as organist and music director at several churches across Canada since age 13. Her album Aftertouches (2015), a series of narrative-rich experimental miniatures, was named a top album of the year by The Wire, NPR and more. Grafts (2017), is a set of three pieces in long-form featuring the composer’s distinct approach to digital-based tuning systems. Grafts stylistically follows A 480 (2014), a set of distinct studies accompanied by .nfo scores sourced entirely from the data rendered voice to explore the sonic impermanence of identity signatures. Grafts, comparatively warmer and personal, is described as a “masterful work,” “uncompromisingly distinct while redolent of modal minimalism and 70s folk music, hovering in the half-light between acoustic and electronic refinement." Coverdale is recipient of a “promising young artist” award, presented by renowned Canadian new music composer Ann Southam, has held residencies with GRM Paris, EMS Stockholm, FUGA Zaragoza, and others, and presents original performances, commissions, collaborations, and installations all over the world.