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, esperanza spalding, Nico Muhly, Julianna Barwick, David Lang, Lyra Pramuk, Daniel Wohl, and Bryce Dessner, 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. “I developed a vocal processing system that allowed me to change the idea of what my instrument is,” 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. After years of using her voice in highly specialized ways (as in singing the music of Caroline Shaw with Roomful of Teeth), Bagg wanted to explore what that level of vocal technicality can do when combined with technology. What results is a full spectrum sound journey through the potential of the human voice; the new Lisel album explores a world of singing that maintains melody as it pushes boundaries. “I rely on my body as an object and resonant instrument,” she says. “Now, what begins inside my body and continues on the computer is one process, and the ideas that result from it are my instrument.”