With glass-clear tones and an intense musical presence, Kara-Lis Coverdale composes pieces in between the digital and organic field of expressions. Her albums feature both acoustic piano and digitally rendered voices, combining her background as a pianist and organist in many churches with influences from electronic music and composition.
Coverdale started playing the piano at age five, composing her first pieces before she was ten. She played the piano competitively before studying music and composition. Church music and the sacred lies close to her musical core, and she has worked as an organist and musical director in many churches throughout Canada.
Her first release, “Triptych” (2012), was an EP with three piano pieces. The following year she released an album at the opposite end of the spectrum, “A 480”, consisting of five songs, between three and 23 minutes long, all of which are made up of digitally processed vocals looping in various speeds in constant flux. She has since released an album, “Aftertouches” in 2015, and collaborated with both LXV and Tim Hecker.
Her newest single, “Grafts”, is a meditative exploration of the sacral in symbiosis with the digital. With organ drones covered in electronics and precise piano tones, it bridges the gap between her various influences.