GENRE; Electronic 

REVIEWED; 9 December, 2025

RATING; 3/5

⭐️⭐️⭐️

Kara-Lis Coverdale’s paired short releases, A Series of Actions in a Sphere of Forever and Changes in Air, feel less like records and more like sonic experiments in focused attention — tiny laboratories where a single instrument or gesture is examined until its edges glow. The first—a collection of solo piano pieces—relies on silence, resonance and the tactile mechanics of the instrument; Coverdale treats the piano as both voice and object, letting string clicks, pedal shudders and slow-decaying harmonies become the drama. 

Changes in Air shifts the palette: organs, modular synths and an electric organ expand the field into warm drones and elemental textures. Several pieces originated in site-specific contexts (one was written for a floating sauna installation), and that spatial thinking — sound conceived as location-aware — gives the music its patient architecture. 

What makes these works compelling isn’t spectacle but patience. Where some modern ambientism drifts toward wallpaper, Coverdale drills into the micro-movements of tone — the way a chord’s overtone breathes against a concrete decay, or how a sustained organ tone refracts when miked in a particular room. Critics have noted the narrow but rewarding focus of these releases; they read like a sustained meditation on “lingering note” and material interaction. 

For listeners familiar with her earlier, more electronically ornate output, these albums may at first feel austere. But persistence pays: repeated listens reveal tiny gestures — a percussive string hit, a shift in air pressure — that alter perception. These are records for late nights, for headphone scrutiny, for anyone who loves to be made to listen closely. They don’t shout; they insist.