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Elizabeth Joan Kelly is a New Orleans-based electronic composer. She uses found sounds and MIDI to create lush soundscapes at the epicenter of synthpop, industrial, ambient, darkwave, and classical music. Her most recent album, as Orca, Attack! (with David Rodriguez), is out on Strategic Tape Reserve. C.M.S.O., short for “Course Management System Optimization,” is an educational album inspired by spoken word, library music, and the electronic works of Raymond Scott.
Her previous album, Farewell, Doomed Planet!, is about the apocalypse. And Chernobyl wolves. Pollution. And space travel. Existential dread. And whales. Before that came Music for the DMV, after Brian Eno’s Ambient 1: Music for Airports (but more angsty…because no one likes the Department of Motor Vehicles).
Born and raised in the swamps of Slidell, Louisiana, and with formal training in composition from Loyola University New Orleans and the Cleveland Institute of Music, Kelly is as equally comfortable composing for symphonies as she is with electronic dance music. She is the recipient of awards from the Independent Music Awards, Ohio Federation of Music Clubs, the National Federation of Music Clubs, Singing City, and the American Composer’s Forum with Vocal Essence. Her concert music has been performed by the Cleveland Chamber Symphony, Glass City Singers, Louisiana Composer’s Forum, and members of So Percussion, and her electronic work has been programmed by Vox Novus, The Dark Outside, and the Dundalk Institute of Technology, to name a few.
Kelly’s work has drawn comparisons to Bjork, Julee Cruise, Depeche Mode, Air, Yves Malone, Vangelis, Tangerine Dream, and Wendy Carlos.