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Loudswell Concert (2021)

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No, house on fire, no. (2019)

No house on fire, no. for improvising quintet explores phonetic text painting and reflections on physical landscape. The work was inspired by composer Neil Welch’s travels to a remote location in the central South island of New Zealand. “throughout a two day journey, I walked among tall, dry grass waist high that rolled unbroken over hill after hill. As the wind picked up the grass would course and bloom out in every direction around me (Neil Welch, 2019).” No house on fire, no. includes musical themes that use non-pitched breathing through phonetic text painting. Many rhythms in the piece are taken from the poem “Drawn Together” by Joan Naviyuk Kane. The poem is reinterpreted throughout the duration of the composition in breathing passages, and also acts as rhythmic material in pitched and percussive themes. Throughout No house on fire, no. all instrumentalists use extended techniques to create undulating sounds of air and wind through various means, such as: fingers sliding on the keyboard with plastic picks, flute and saxophone blowing directly into their instruments without engaging pitch, bows sliding on the body of the instrument, amplified bow swirls and pulls, feet and hands brushing against the floor, clothing, or instrument. The composition is dominated on the whole by graphic score language developed specifically for the work, however many selections are also notated in pitch. No house on fire, no. is a work sonically sculpted by each member of ensemble, bringing the composition to completion during performance. It is segmented into four sections (Introduction, I, II, III) and is intended to progress between sections without pause.

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FUNERAL SENTENCES FOR DAMAGED CELLS, excerpt “OUT DAMN SPOT” (2019)

FUNERAL SENTENCES FOR DAMAGED CELLS traces one journey of trauma as it travels through generations of my American family. As it mirrors the Anglican funeral sentences, it becomes an elegy for the dead. In the United States, a country besieged by inherited trauma, our family stories are so often relegated to the dark places in our hearts, where they root and damage; or perhaps they fall out of photo albums, leaflets of pain, impressions of grief. But the expression of these stories can liberate us from their dark forces, breaking the cycle. I thank my mother, my grandmother, and my grandfather for their words, their wisdom, and the inspiration gifted to me for this piece: may you hear this from the cosmos, journeying in power from the beyond. - Kaley Lane Eaton

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Winter After Times of Fire (2019)

Composed by Ewa Trębacz, commissioned by Kin of the Moon through a grant from King County's 4Culture.

Performed at "A New Phase" on February 22, 2019 Cornish College of the Arts, PONCHO Theater

“Having a strange and slightly post-apocalyptic experience of living in a world engulfed by wildfire smoke – as in Pacific Northwest summer 2018 – made me think of global processes, forces of nature that inevitably lead to one another after reaching a critical point of no return. An ice age as a result of volcanic eruptions, then broken by volcanic activity, a nuclear winter following the time of fire, when life remains dormant. The title is a metaphor for these contradictions, bound together in an inevitable cycle of destruction and rebirth.” - Ewa Trębacz

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LUNG (2018)

Concept by Kaley Lane Eaton & Karin Stevens. Music composed by Kaley Lane Eaton. Choreographed & performed by The Indigo / Amelia Love Clearheart & Karin Stevens.

Music performed by Kin of the Moon & Strange Interlude. Featuring Simon Linn-Gerstein on cello, Lily Press on harp, and Rachel Yoder on clarinets.

Costume design by Sarah Mosher and lighting design by Meg Fox.

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atmokinesis (2017)

At-mo-ki-ne-sis | noun | the psychic ability to influence the weather. Atmokinesis is a collaboration with SuperCollider composer Kaley Eaton, Violist/composer/improviser Heather Bentley and Flutist/improviser Leanna Keith and serves as an opportunity as a chance to explore the five elements of Earth, Water, Fire, Air and Aether. It is a musical alchemical experiment involving live improvisation of acoustic instruments, pre-recorded sounds, real-time audio synthesis and digital signal processing written in SuperCollider.

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Only the Words Themselves Mean What They Say (2010-11): Kate Soper

Kate Soper says this about her piece: "Lydia Davis' words suggested an unhinged virtuosity and idiosyncratic, multi-layered musical reading that took me from screwball comedy to paired musical gymnastics: the flute becomes a kind of Iron Man suit for the voice, amplifying it to new planes of expressivity, intensity, and insanity as the two players struggle, with a single addled brain, to navigate the treacherous labyrinth of simple logic."

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Wilderness (2017): Kaley Lane Eaton

Wilderness is a spatial representation of how much distributed wilderness is left in the U.S. Eaton writes: "Each speaker emits a synthesized sound generated from data sourced from the University of Montana Wilderness Center. Speakers in areas with higher acreage of wilderness emit louder, higher pitched, and more rapidly pulsating sounds. Speakers in areas with low acreage of wilderness emit quieter, lower pitched, and more slowly pulsating sounds. All sounds were calculated meticulously to ensure a spatially accurate, relative experience of how much wilderness we have preserved and destroyed." The installation responds to the listeners' remarks by triggering recorded voices when room sounds rise above a threshold of respectful hush into the din of human anxiety.