"Memory Rot" is a virtual process piece that achieves harmonic layering by even-ordered speed radios. Form is determined by time, which can be visualized -- as typical in Western understandings of musical form -- on a vertical axis: harmony shifts on a glacial scale as the various tracks resolve themselves over a predetermined period. 

The result is the effect of melting or "rotting" away which occurs at a slow and primarily felt (as opposed to overtly heard) rate as the layering between the simultaneously playing audio glacially shifts.

The jazz-inspired electric keyboard palette is treated with ambient procedures so as to intertwine two temporally and functionally akin genres so often considered to be culturally considered distinct. 

Roll up time & burn slow. 

A 2013 GATE Production. 
Composed and produced by Kara-Lis Coverdale in Montreal, Quebec. 

Kara-Lis Coverdale - Memory Rot

bitches were born 2 kill each other  

//

"Royal Jelly Waltz" is the main theme of a score written for the original Kara Crabb play "Royal Jelly," a re-working of the Greek Tragedy Medea. The score was performed live for 6 performances at the Arts Court Theatre, Ottawa, in June 2014. Presented by The Book of Why Productions. 

http://www.royaljellyplay.com/

Royal Jelly Waltz (Theme from Royal Jelly)

Imgs /r

Touch me & die

Splash 144

X 4Ewi

Ad_renaline

Icon /c

Arcane

Nu_chanic

Saps /h

I. 2c 
II. Flutter
III. Moments in Love

out 04.28.17 https://boomkat.com/products/grafts

GRAFTS

From Piano I, a Triptych 4 solo piano. Written, performed, & recorded by Kara-Lis Coverdale. 

Mastering by Jay Hodgson. 
Artwork by Jon Estwards http://bit.ly/WKHU5c

Kara-Lis Coverdale - Vessels

Triptych 4 solo piano.
Recorded at Rattlesnake point. 
Written, performed, recorded by Kara-Lis Coverdale.
Mastering by Jay Hodgson. 
Artwork by Jon Estwards http://bit.ly/R2S2Vv 

Special thanks to EVE, ROB, & NORDY 

Kara-Lis Coverdale - Lattus (werk)

Kara-Lis Coverdale - Circles, Apparition

Sometimes when playing organ preludes and postludes in church, I improvise on rap songs. Sometimes I start with something else (say, for example, motives based on my own interpretations of "redemption" or "jubilation" or "cupcakes") but the journey ends up, somewhere along the way, in the loopy-oriented terrain a rap song or vice versa. 

Most people listening out in the pews more often than not have no idea what sources I quote at the time (depending on who's out there, of course), but the most intriguing part of the exercise is that people of all stripes seem to like the pieces, and have said to be "moved" by them in ways unconventional and far away from a song written for, say, a club. 

There is little material intervallic and harmonic difference between a song played on the organ and a song played through a DAW after all; meaning is ultimately ascribed through timbre and context. This fact testifies to the power of a delicately placed recontextualization and is proof of an "everyday sacred"  contained in even the most deceivingly simplistic 4/4 riffs and 12-bar bass lines.  

A 2013 Gate Production. 
Composed and Performed by Kara-Lis Coverdale in Montreal, Quebec. 

Kara-Lis Coverdale - Puttukas(organ postlude)

KARA-LIS COVERDALE
...

Grafts//
https://boomkat.com/products/grafts 

Sirens // 
http://www.umor-rex.org/portfolio/ur078

Aftertouches // https://sacredphrases.bandcamp.com/album/aftertouches

A 480 // https://ctatsu.bandcamp.com/album/a-480

Bookings
regina@frontporchproductions.org

https://www.kara-liscoverdale.com/

what is yr idea 
klis.coverdale@gmail.com

KARA-LIS COVERDALE

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