In charge of the hour (6’32’')
In Charge of the Hour
Things in the night that grow,
Require softly, silently, gentle,
Bee, Rosemary, Fire, and Ice,
& infinite negativity.
We live in field of circle, beyond which all is dark,
But here inside our sphere, time cycles calmly through full days of light.
Yes, I be a nightingale, peaceful at indigo hour,
Playing in patterns of colour, felt lines, precise matter,
Listen to harmony in space who makes audible every quiver;
Where things grow upward from feet to the air —
The angel’s trumpet is sounding there.
Transition music, change music, which inhabits the moments of transformation, when light begins to fade imperceptibly and blackness occupies what was shining before: the iris as measure of differences- Shadows become ever darker and now take over the space, creating a universe of fantasy and possibilities, and something which always appears to be alien to our expectations. The colour palette wilts, losing a resplendent life to gain a veil of grey tones, sacrificing everything for the unknown, for the discovery of a fraction of time. Kara-Lis Coverdale took her piano and painted us a generous picture full of flowers and aromas in mutation, where minutes seem to suspend their journey and our hearing. We watch the miracle happening in that instant, when we bid farewell to the chrysalis in slow motion. Between day and night, in this short interstice, new laws appear, contradictory, reinforcing how much we must be available and watchful, and showing us how it is in change that poetry is better written. How does a piano speak, when submerged in darkness? Kara-Lis sculpts the moment, slowly and emotionally, allowing the notes to evaporate into an ether of metamorphosis. In an apparent simplicity, “In charge of the hour” focuses on the essential, revealing the complexity of the world’s harmony.
by Pedro Santos
Kara-Lis Coverdale works in both acoustic and electronic media to create works that transcend reality. Driven by a patient devotion to sonic afterlife, memory, and material curiosity, Coverdale’s world-building work occupies new planes built upon a borderless understanding of electronic music rooted in the interlocking pathways of musical systems and languages. Named a unique navigator of the digital frontier with an ease and emotive sensitivity “we cannot yet comprehend (FADER) and heralded as “one of the most exciting composers in North America” (The Guardian), Coverdale’s work has been meet with consistent critical acclaim. Coverdale’s recordings are architecturally considered and often understated, but her dynamic live shows can be unpredictable, chaotic, eerie, dynamic, confrontational—symptoms that the artist is emotionally present— for which she has earned a steady reputation as a festival favourite as a highly dynamic and explorative artist; unpredictable and resistant to categorization and stasis.