The work of Kara-Lis Coverdale has mesmerized and inspired me since January 2016. Even without visual aids, Coverdale's work is evocative. Her pieces stand alone as paradoxically concrete, abstract phenomena. As fusions of incadescent melodies and haptic textures, they create impressions of sublime dynamic spaces. All of Coverdale's motifs hover between auditory and "visual" perceptibility.
I have called Coverdale's working enveloping — the manner in which "Ad_renaline" unfolds exemplifies this. The song captivates my attention from its outset. At 0:00 a lighthearted/melancholy melody wavers like playful LED lights — freed from their containers and released into the atmosphere. Reverberation lends the piece a weightlessness that both lends it in immediacy and draws the listener into confrontations with nostalgia. The melody intensifies by 1:00 when it is reinforced by a bass at 1:06 and encirlced by transitive vocals that overlap and recede from one another. Timbres of wood permeate the atmosphere, as a space is assembled within "Ad_renaline" that is brief, texturally rich, and mesmerizing.
My experiences with Coverdale's live work, such as her performance at Mutek this past June and during the Red Bull Music Academy in October, truly did not reflect my experiences with her recorded work, however. The mesmerizing bliss or confusion I felt during pieces such as "Ad_renaline" and the "Informant" (part of a collaborative work with LXV), were reactions to palimpsests — foundations to more complex arguments of beautiful noise in live settings. As in "Saps / H," "Splash 144," and "Disney," Coverdale's music exuded a great capacity for saturation/immersion — to be swept up by tonal/textural/wavering drones pierced by melodies that uplifted and carried me beyond a unilinear-perspective with sound. Receeding and advancing waves of scintillation; augmented horns and pipes; basses composed of superhuman/inhuman voices, which impress themselves upon the body through electroacoustic envelopment.