THE PURE COLD LIGHT IN THE SKY - November 18, 2017
Kin of the Moon’s debut event, The Pure Cold Light in the Sky, is a sonic exploration of quantum and elemental matters. From Jessi Harvey’s quizzical composition, The Multiverse, Kate Soper’s Only The Words Themselves Know What They Say, with text by Lydia Davis, Heather Bentley, Kaley Eaton and Leanna Keith’s collaborative work, Atmokinesis, to Eaton’s sound installation Wilderness, the physical essence of the particles and waves that animate our selves and our world is on display through KOTM’s soundstream.
Harvey’s The Multiverse has something to do with gravitational waves, dark matter, twins and John Cage. We are still not sure what, however…
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.”
Atmokinesis is a superpower. A person practicing Atmokinesis can control the weather through psychic manipulation of the elements earth, water, fire, air and aether. In KOTM’s attempt, improvised acoustic sounds manipulate electrons through the program known as SuperCollider, and resultant electronic tones in turn influence the musical direction of the piece. A BKE (Bentley/Keith/Eaton) collaboration, we’ve been performing this piece for several months now and we’re not sure how effective our weather control is, because it’s not clear whether it’s the physical, cultural, psycho-spiritual, or political climate we are influencing. But something is definitely changing.
Kaley Eaton’s 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. As you can guess from the image, the sound each speaker makes is representative of the relative acreage of protected wilderness in the immediate radius of the speaker. 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.
Please take a look and a listen to Kaley Eaton's new installation: wilderness for nine loudspeakers.
WHAT BETTER THAN CALL A DANCE? - April 20, 2018
Kin of the Moon’s April 20 show is inspired by the relationship of dance to music, and how music informs dance and dance informs music. We’ll be collaborating with Beth Fleenor on clarinet, vocals, electronics and Karin Stevens: the two will interweave a series of improvisations interspersed with four new takes on some pre-existing dance music forms composed by Kaley Lane Eaton and Heather Bentley, performed by Kin of the Moon. A hybrid of through composed and improvised music, the retrospective/reworking includes dance music of the Renaissance, and new view on the waltz and the tango, and a sort of EDM thing…and electronics.
WHEN TWO CLOSE KINDRED MEET - June 16, 2018
We feel the sizzle of this moment in music. Twin paths of notated music and improvised music have been traveling at electric speed down parallel paths, with outrageously brilliant practitioners on either side. But it’s time for the serpent to merge its two tracks and coil toward greater electrification. Kin of the Moon (KOTM) is deeply inspired by the artists of the Association for Advancement of Creative Musicians (AACM), who have been at the forefront of exploration, performance and sharing of improvised music for over 60 years: Renee Baker is one of our heroes from the AACM and we are privileged to have worked with her, be inspired by her, and be mentored by her. She has been an early supporter of KOTM and it’s our deep honor to present and commission her new piece Tyaga: Divine Life Suite, a through-composed work for various flutes, viola, voice, bass, percussion and electronics that combines the structure of a notated work with areas of improvised music.
The advances in written and graphic notation in the post WW2 period have yielded intense ways of engaging the minds and ears of performers and listeners, while also creating a potential excess of page-centric devotion. The density of attention that can exist in improvised music as practiced by avant-garde musicians like Renee Baker, Roscoe Mitchell, Nicole Mitchell, Robert Dick, Anthony Braxton, Ha-Yang Kim and many more are an inspiration to us at KOTM. As conservatory-trained instrumentalists/vocalists/composers with advanced degrees, we KOTM musicians are privileged to have the versatility of finely honed technique to support our explorations in improvisation, while also possessing the adventurous intellect and mind chops to interpret and execute complex notational systems.
During Renée Baker’s week-long residency in Seattle, she will also present several film screenings in various community locations. She has created original scores for these experimental art films and recorded them with the improvising orchestra she leads, the Chicago Modern Orchestra Project."