Referred to as “one of the most interesting composers in North America” by The Guardian, Kara-Lis Coverdale is a national treasure working on an international scale at the intersections of electronic composition and new classical. She creates dense, colourful arrangements that blur the line between human touch and data stacking. With a unique penchant for long-form melody, harmony, and sonic detail, her work is nuanced and sumptuous.
A classically trained pianist, a scholar with a focus on sculpted realisms in recorded music, and a go-to collaborator for noisenik Tim Hecker, Coverdale’s output showcases a considered approach and whipsmart sensibility through and through. At this year’s Convention, she’ll be mounting a piece for solo piano entitled PICL (Pieces In Caps Lock) that ‘offers an essential narrative on the limitations of mediation, the capabilities of touch, and the immense consequences of either embracing of overcoming instrumental change’.