Montrealer Kara-Lis Coverdale has an impeccable ear for ambient music and sound composition. At 22-minutes, “Grafts” is one of her more condensed projects and although works like “A-480” and “Aftertouches” certainly offer blissful sublimity from beginning to end, “Grafts” is certainly her most no-moment-wasted work to date. Housing three different designs—“2C,” “Fluttering,” and “Moments in Love”—the work has just enough time to develop each idea to its fullest extent before the next idea gradually gels into place over the course of a one or two minute transition period. The road map is logical and Coverdale’s unbelievable melodic sense nails the execution.
“2C” opens with a church-like aura. The droney, keyboard undertones have the clicking of the keys sound of an old organ as more unclear source material plays around with a simple melodic loop in the high-range atop a lush pillow of sound. Coverdale has some pauses in the beginning phrases to immediately develop the sonic environment. Eventually, less predictable plucks of melodic sound play around as the first melodic source finds a groove-like state pulsing between two or three notes with swaths of harp-like sound adding more ambiance.
“Fluttering” maintains some of the undertones, but also builds a circular storm of melodic ideas above the slightly less brooding pillow of backgrounds. There’s the crystals of big pulsing sound; the fluttering textures of electronics; and again harp-like rotating—it’s a bit more top-heavy than the first piece and more short lived but it’s within the same sphere for sure.
The final section is a more typical aquatic, ambient environment with a grace of the church-like hum of the beginning of the album. There’s a slowly arching keyboard sound in a relentlessly subdued space. The detailing is impeccable. For instance, there’s an audible shift in white noise around the start of each background loop—almost as if the room noise changes. Also, the piece finds a bit of tension in a super soft, pulsing industrial sound that remains hidden in the background. As opposed to the second piece playing with the balance of for and background, this one brings everything down and forces the listener to find tiny details within the mix.
The project finds a certain singularity. Restarting “Grafts” at the end is logical, as if the spirit of the initial melodic idea was beneath the surface the whole time. Part of this cohesion comes from the brilliant transition moments as the formal sections of the piece come to a close. Around 6:22, “Fluttering” offers its first sentiments before the slightly more formal 8-minute time slot. Coverdale begins to run the whole groove-state of the first section of the piece through a fade out and eventually through a high-pass (?) filter as spastic flutters of harp and electronic noise play around in the foreground.
Here, there’s a complete stop in movement around 7:54, but in the case of “Moments in Love,” the transition is even less pronounced. It almost feels like the high-melodies of “Flutter” fade out for 3 or 4 minutes and at around 12:30, the final wandering melodic idea begins to take shape. Both of these transition point make the project ridiculously cohesive, while also turning into a slightly new direction.
Coverdale is certainly a fresh voice in ambient music. There’s traditional aesthetics in the mix, but she looks forward with a particularly lively approach to musical phrase and instrumental mixing. A return to a more “full-length” format is likely and she’s sure to amaze, but these 22 minutes are nearly flawless and impossible to put down.