With Metamorphosis, her new work, Perila invites the audience into a long‑duration ritual that opens a contemplative state of listening, moving through themes of transformation, presence, and the alchemy of time.

In a world that measures life through outcomes rather than presence, her work proposes another perception of time: a time that expands, gains density, and allows sensitivity to deepen when we slow down. Metamorphosis cultivates a soft attention, oriented toward what is fragile, fleeting, and alive, suggesting a renewed intimacy with time as a form of care and resistance.

The sonic journey reflects this metamorphosis: it begins in a state of “ash,” with minimal textures, and gradually evolves toward more resonant and tonal structures, like a symbolic inversion of time. The work aspires to what Pauline Oliveros defined as “quantum listening,” in which performance arises from the very act of listening, shared between artist and audience.

Metamorphosis restores attention to the subtle and the in‑between, offering a space of stillness, transformation, and contemplative awareness.

In the second part, Kara‑Lis Coverdale presents a dynamic work rich in sensitivity. From Where You Came unfolds like a series of nocturnal transmissions, reflections, and sonic tales. Interweaving nineteenth‑century programmatic music, 1970s jazz, and the Canadian artist’s personal compositional approach—which includes improvisation—Coverdale blends electronic synthesis and live instruments in a recognizable gesture of reconnection with the earth and the body through sound. Considering composition as a method of inquiry for spiritual purposes, she transforms emotional resonance into electronic signals.

Written and recorded in various places, including the GRM in Paris and EMS in Stockholm, From Where You Came was completed in Ontario. With the collaboration of cellist Anne Bourne and trombonist Kalia Vandever, the album’s compositions include strings, winds, brass, keyboards, and modular synthesis, outlining a direct and clear musical language. “Anything can have a voice,” Coverdale says. “For me, the voice goes beyond the human.” Fittingly, the artist’s own voice opens the album with Eternity: “Everything you know is real… life is beautiful.”

Confronting experiences of grief, uprooting, and the search for freedom, Coverdale transforms the difficulty of her lived experience into imaginative and intense sonic landscapes. In Daze, wind choirs and dissonant glides accompany a modulating ascent toward new heights, evoking the sensation of flight. In other tracks, sound becomes physical and subterranean, as in Freedom, or restless and fragmented in Coming Around and Problem of No Name, culminating in the rhythmic catharsis of Offload Flip.

Each composition finds grounding in different environments. Reflecting on the sense of alienation in modernity and the desire to shape new stories, From Where You Came constructs a sonic language that unites concreteness and imagination, offering a perspective for understanding the worlds we want to create.