The Montréal based composer, musician, producer and keyboard experimentalist performs an emotive set in her hometown.
Kara-Lis Coverdale’s work frequently blurs the lines between experimental electronics, traditional composition and research-based modernism. Her shape-shifting output is reflective of a seemingly scattered set of formative influences: ‘90s East Coast hip-hop, children’s music, the Estonian Lutheran folk and church music of her childhood and the endless possibilities of Napster. Coverdale’s prodigious piano talent led to appointments as a parish organist and musical director in her native Hamilton, Ontario; she began integrating electronics and digital processes into her work, and pursued postgraduate study of what she likes to call “sandwiches of reality.” A relocation to Montréal led her to collaborate with fellow Canadian experimentalist Tim Hecker, and the move also marked the beginning of her solo recording career, which has since spawned three distinct albums, including 2017’s 22-minute opus, Grafts. In this session, she performs a new piece of work titled “Grand Exorcism”, featuring writer and performance artist Kara Crabb.