Glass and wind

FEMINATRONIC # 51 - MAGIC CARPET RIDE #2

Electronic

Released March 24, 2015 on Sacred Phrases: https://sacredphrases.bandcamp.com/album/aftertouches 

Aftertouches playfully exploits the systemic nature of a post-sacred and post-instrument world, continuing Kara-Lis Coverdale’s exploration of coded realism and virtual transfiguration. Through an optimistic lens, Aftertouches explores and celebrates the multiple voices of the machine. Synthetic instruments sourced from VSTs, sound banks, and personal archives are arranged into holograms of dreams once inspired by physical origin. Through digital superimposition processes, instrument profiles mutate and take on new forms of articulation. Crystalline organs support and prop plastic voices and insistent water flutes dance with metallically chromatic snake-like motifs in vignettes of compositional schizophrenia. Absurd and delightful fusions seething through temporal portholes are unexpectedly swiped left, enveloped by dense clouds of lament and remembrance. 

Kara-Lis Coverdale is a Montreal composer and performer whose work interrogates the distinction between the human and the machine. Coverdale is a recipient of the ACNMP Contemporary Showcase promising young artist award presented by Ann Southam and is active in both the studio and in performance as a keyboardist, organist, and collaborator. 

Aftertouches

Celebrating the eclecticism of women creating electronic music. Perennially evolving...

FEMINATRONIC #15

Track 1 on B-Sides: frktl.bandcamp.com/album/b-sides, Atom LP's companion release.

B-Sides

FRKTL — Andra

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)

from Lucky dragons's album " rara speaks"
vocal&chorus / me
https://www.normanrecords.com/records/110609-lucky-dragons-rara-speaks

Luckydragons / rara speaks - Oorutaichiremix feat.YTAMO

Path To Phenomenon

Cenote

Kaitlyn's solo debut Euclid (primarily written on a Buchla Music Easel synthesizer) was inspired by her love of mbira music, early electronic music pioneers like Suzanne Ciani, Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidean geometry. Each of the first six songs on Euclid were initially structured using euclidean geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory. As Smith explains, "We each chose a 3D shape and assigned our own guidelines to the different components that make up the shape. For example each point of the shape represents a different time signature, each line between the points represents a pitch, each shape within the closed lines represents a scale, etc. And then you play the shape." Despite their heady geometric origins, the songs have a playfulness and warmth that makes them inviting and memorable. In addition to the buoyant grooves of Smith's synthesizers, some of the songs feature wordless vocals, which energize the otherworldly songs, while grounding them with Smith's earthly presence. 

She slows things down for the second half of the record, which features a collection of twelve short pieces, Labyrinths I-XII. Originally composed as new soundtracks to old silent films she found online, Smith says the tranquil Labyrinth pieces are "intended to feel like one is walking through a holographic labyrinth and encountering different experiences such as hang gliding, viewing microbes under a microscope, ice fishing in Alaska, and watching glaciers collapse." Despite their brevity, most of these songs feel like mini odysseys, effortlessly casting a cinematic hue on the the listener's world.

Throughout Euclid Kaitlyn Aurelia Smith consistently delivers sonic puzzles draped in a warm Pacific mist. At times these songs feel so alive — like the musical analog to roots growing deeper and stronger, leaves on branches bending towards the light, or the sun peeking over the horizon, briefly igniting the air with a primordial swirl of warm and cool colors.

Kaitlyn Aurelia Smith - Careen

This is a track I co-wrote with one of my dearest friends, Brian Saitzyk, aka  Eastern Sun. A lush, sonic hug.

Eastern Sun feat. Maggie - Dawn

Imgs /r

Touch me & die

Splash 144

X 4Ewi

Ad_renaline

Saps /h

This track is from the album AS IT IS NOW - 25 Years of Visionary Music and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/sdoucet5

Crystal Flight (excerpt from BRILLIANCE)

Kara-Lis Coverdale is a Montreal composer/artist with a whole lot goin on. 
Press the button ~ hit play ~ flutter away
K-LC's "Aftertouches" will be out on March 24th, 2015 via Sacred Phrases.
-------------------------------------------
https://soundcloud.com/klissay
https://twitter.com/kliscoverdale
http://www.sacredphrases.com/

Kara-Lis Coverdale - Summer Cool Mix 009

"Ocean's Horizon" taken from the album "Ocean's Horizon", available from your favourite downloadstores.

Ocean's Horizon

Kara - Lis Coverdale - Buried Trig

01 Saw Song

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