RAMONA LISA is the current side-project alias of CHAIRLIFT‘s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets.

Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”.

The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift.  The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms.

Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.

Tickets available here

RAMONA LISA is the current side-project alias of CHAIRLIFT‘s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets.

Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”.

The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift.  The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms.

Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.

Tickets available here

RAMONA LISA is the current side-project alias of CHAIRLIFT‘s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets.

Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”.

The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift.  The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms.

Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.

Tickets available here

RAMONA LISA is the current side-project alias of CHAIRLIFT‘s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets.

Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”.

The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift.  The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms.

Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.

Tickets available here

RAMONA LISA is the current side-project alias of CHAIRLIFT‘s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets.

Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”.

The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift.  The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms.

Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.

Tickets available here

RAMONA LISA is the current side-project alias of CHAIRLIFT‘s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets.

Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”.

The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift.  The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms.

Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.

Tickets available here

RAMONA LISA is the current side-project alias of CHAIRLIFT‘s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets.

Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”.

The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift.  The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms.

Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.

Tickets available here

RAMONA LISA is the current side-project alias of CHAIRLIFT‘s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets.

Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”.

The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift.  The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms.

Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.

Tickets available here

RAMONA LISA is the current side-project alias of CHAIRLIFT‘s Caroline Polachek. Over the past year she has been performing as Ramona Lisa in New York unannounced, incognito, with fully choreographed and costumed sets.

Arcadia is Polachek’s first self-produced solo record. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls “Pastoral Electronic Music”.

The making of Arcadia was a year-long process that began and ended in an empty studio in Rome’s Villa Medici and while on tour with her band, Chairlift.  The record was made entirely on a laptop without instruments or external microphones — all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms.

Although the album was created in a non-space, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek’s vocal at it’s most delirious and intimate yet.

Tickets available here