biography continued

Kiva's debut 'The Ladder' (’98) has dreamy, metaphorically rich offerings and elements of jazz, pop, impressionism and world beat. Cultural influences such as Tuvan, East Indian, Celtic, Balinese and Japanese are apparent. Roughly half the tracks on ‘The Ladder’ contain some form of this technique. Lyrically, it’s an expression of her personal, theoretical and global ponderings, full of lush imagery and wordplay. This all comes together with hair raising harmonies and highly melodic vocals that are simultaneously sweet, powerful, innocent and exotic.

    Kiva continued to stretch musical boundaries with the release of ‘Pulse’. It falls into the category of 'otherworldly world beat/jazz'. She creates layers of textural vocals with mostly imaginary language (‘vocables’), sometimes imitating instruments, combining this with rhythms from several different cultures. Latin, African, East Indian, Caribbean, and even a little Klezmer, are influences that appear in ‘Pulse’. The uplifting results are unique hybrids that meld East and ‘new’ West.

  She performs solo with her keyboards and laptop, and also as a guest with other artists (usually improvised vocals), notably Tanya Tagaq, Wimme, Vladiswar Nadishana, the Yellow Sisters, Olla Vogala orchestra.

  Kiva devotes a lot of attention to overtone choirs, composing for and conducting her own 'Auralia' in Prague. This music explores experimental and non-esoteric based overtone singing. Her own compositions for overtone choirs have been performed by other such choirs, i.e. Spektrum and the European Overtone Choir (both of which she has belonged to as tenor and soloist).

    From ‘The Ladder’, ‘Pulse’ and beyond, all her work documents an unorthodox history of study, performance, world travel and experimentation.

- Click here for Kiva's site dedicated to overtone singing and workshop information here for an interview with Kiva

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