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Eliza Bagg leads a complex musical life working as a classical opera singer, she has soloed with the New York Philharmonic, performed in Meredith Monk's opera at the Los Angeles Philharmonic, and toured Europe with the legendary John Zorn. While making her own music under the guise of art-pop solo act Lisel, she's also collaborated as a vocalist with some of the most renowned experimental artists, including Ben Frost, Julianna Barwick, Daniel Wohl, and many others, all while playing indie rock venues and lovably dingy basements. One day, it's Lincoln Center or The Kitchen, the next it's an outdoor LA ambient series. She was always torn between her two worlds, and it wasn't until she began work on Patterns For Auto-tuned Voices And Delay that she discovered a way to merge them together.Patterns comes out of Bagg's experience as a vocalist singing Renaissance and Baroque music along with the work of modern-day minimalists like Steve Reich and Philip Glass. InchI developed a vocal processing system that allowed me to change the idea of what my instrument is,Inch Bagg says of the album's genesis, a system that combines her virtuosic singing with autotune and delay effects to create a melding of human and machine. Sure, she'll admit it. InchI'm a sci-fi nerd,Inch she says, with a laugh. InchI'm a Blade Runner and Battlestar person. I love things that explore how society interacts with machines.Inch While making Patterns, she dove first into Renaissance polyphony and chant. The music of Hildegard von Bingen, Thomas Tallis, and Carlo Gesualdo is a familiar world to her. Starting with Renaissance and Medieval singing styles and idioms, she added processing and electronic world-building to bring out new, expressive qualities of those styles. From there, she improvised in these styles, fed the performances into Ableton, and incorporated modern day hyperpop (like SOPHIE) and am
