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


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.


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.


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."



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.


22 (2018): Kaley Lane Eaton