Kin of the Moon

    Chamber music of right now

    Fractured Atlas cannot currently accept donations for Kin of the Moon because their fiscal sponsorship is inactive or expired. Please contact Kin of the Moon with any questions.

    Kin of the Moon

    Chamber music of right now. Improvisation-centric, technology friendly instrumentalists, vocalists, and dancers.

     Seattle, WA, United States
    This is a Fiscally-Sponsored Project

    Fiscally Sponsored by Fractured Atlas

    Kin of the Moon is a new improvisation-centric, technology-friendly chamber music series formed by long associations and collaborations in the rich Seattle creative music scene. Our music taps a wide range of sound creation methodologies from ancient sonic rituals and cutting edge technologies. The conservatory-trained performers are devoted both to notational systems of various types as well as deep and searching improvisation practices. Through our music, we delve into the conditions characterizing our present human state: beauty, confusion, chaos, the quest for understanding, connection with elements - wherever sound can lead us.

    We have a fundraising goal of $5000 to pay for the following work in our debut season (2017/18):

    1. Nov. 2017 new works: Atmokinesis, a collaborative work by Kin of the Moon (Bentley, Eaton, Keith) and wilderness, an interactive sound installation through nine loudspeakers.
    2. April 2018 new works: collaborative dance/music suite by Karin Stevens and Beth Fleenor interspersed with new compositions by Kaley Eaton and Heather Bentley
    3. Commissioned new work, Tyaga: Divine Life Suite, from composer Renée C. Baker to be premiered in June 2018. For flute, viola, electronics, voice, bass and percussion. Renée's 10 day residency in Seattle will also include several screenings of her experimental films with her original scores.

    Co-directors of Kin of the Moon are:

    Heather Bentley, violist, improviser, composer and inveterate collaborator. She has co-created two conductorless orchestras, Scrape: an original music string orchestra, featuring the music of jazz great Jim Knapp, and NOCCO, playing composed new and classical music. She ran the project Club Shostakovich from 2012 - 2016, performing the fifteen Shostakovich quartets alongside various other repertoire in unique Seattle venues, engaging new audiences and collaborating with Seattle Symphony musicians and others. She produced her semi-improvised opera The Ballad of Ishtar in January of 2015 in three sold-out performances sponsored by Nonsequitur at the Chapel Performance Space. Her orchestra composition Hot Shop was commissioned and performed by the Northwest Sinfonietta in April 2017 as part of their Art for Art's Sake performance with conductor David Lockington in Seattle's Benaroya Hall, Tacoma's Rialto Theater and Puyallup's Pioneer Pavilion. Along with composer Steve Layton she released an album of improvised and processed viola music called Meeting Point in April 2015. Bentley holds degrees in Viola and Chamber Music from the San Francisco Conservatory of Music and was a fellow of the Michael Kuttner String Quartet Masters Program at Indiana University. She was Principal Viola at the Tanglewood Music Center's Festival of Contemporary Music and was a member of the New York String Orchestra, performing at Carnegie Hall and the Kennedy Center under Alexander Schneider. Her string trio, Trio Pardalote, commissioned and premiered numerous works and can be heard on Wayne Horvitz's album 55: Music and Dance in Concrete, recorded in an underground bunker at Washington State's Fort Worden.


    Dr. Kaley Lane Eaton is a composer and soprano currently based in Seattle, WA. Her work has been performed across the US and internationally, in venues ranging from Hong Kong concert halls, to the streets of Skid Row in Los Angeles. Eaton's work crosses genre boundaries, exploring how the voice, body, and unconscious world of the performer can provide musical narratives through live digital processing, machine listening, sensors, and improvisation. Her "startling," "intriguing," "fresh," and "thoughtful" compositions are quickly gaining notoriety for combining innovative digital technology with ancient performance practices.

    In addition to frequently producing and performing her own work in bars, concert halls, and living rooms, she has collaborated with and been commissioned by multiple solo artists and chamber ensembles across the country including cellist Olivia J.P. Harris, soprano Felicia Chen, flutist Leanna Keith, forty/sixty, Strange Interlude, violist Heather Bentley, and saxophonist Steve Treseler. In 2015, her orchestral work hummingbird/butterfly won the University of Washington/Seattle Symphony Orchestra reading competition, resulting in a public reading of the work by SSO. She has been awarded residencies at the Atlantic Center for the Arts (2017 associate artist with master artist Derek Bermel) and the Hambidge Center for Creative Arts and Sciences (2017) where she was awarded the distinguished Holland and Knight Fellowship. Her electroacoustic opera lily [bloom in my darkness], featuring an original libretto by Canadian author felicia klingenberg and choreography by Karin Stevens, premiered in June 2017 with the support of 4Culture's Tech Specific Grant Program. lily is also the recipient of the 2017 International Alliance for Women In Music's Pauline Oliveros New Genre prize for works exploring electroacoustic media and innovative form and style. It will be produced again in Fall 2018 with Karin Stevens Dance and the Universal Language Project alongside a new work by Eaton.

    Eaton is a Teaching Artist with the Seattle Symphony, where she was recently an arranger and performer with the Lullaby Project. With flutist Leanna Keith, she is a co-founder of Stack Effect, a flute and voice duo. Also with Keith and violist Heather Bentley, Eaton co-directs Kin of the Moon, an improvisation-centric and technology-friendly chamber music series in Seattle. She holds a DMA in composition from the University of Washington.


    A flutist, improviser, and composer in the Seattle area, Leanna Keith’s passion and verve for music drive her to seek new challenges in contemporary performance. Her recent endeavors include a residency at the Avaloch Farm Music Institute, performing the music of Steve Reich’s Drumming with Sō Percussion, working with Brian Ferneyhough on Mort Subite, and being featured with the Seattle Modern Orchestra on Abysses for Flutes and Ensemble, by Helena Tulve. Ms. Keith regularly performs with Stack Effect, featuring composer/vocalist Kaley Lane Eaton.

    In 2013, Ms. Keith collaborated with guitarist Zachary Larson to form the Keith/Larson Duo, dedicating their efforts to the performance of new music and orchestral transcriptions for the flue and guitar. As a duo, they have presented programs of both new and standard pieces at the 2017 National Flute Association Convention, Electronic Music Midwest 2017, 2nd Canadian Flute Convention, and have produced an EP entitled Dawn Till Dusk. They have performed recitals in Seattle, Denver, Chicago, Phoenix, Omaha, Minneapolis, and Toronto. The duo continually seeks new opportunities to bring their unique perspective and style to the chamber ensemble.

    In April of 2015, Ms. Keith published
    Journey to the East, through ALRY Publications, transcribing traditional Chinese bamboo flute music for modern performance. She has presented her research on dizi and Chinese traditional music to colleagues at the 1st Canadian Flute Convention, the University of Nebraska, and the University of South Dakota.  Her unique compositions are regularly sought by both aspiring flutists and professionals alike, with her piece The Troll and the Fae having been performed by several professional piccoloists.

    Leanna Keith is a Teaching Artist with the Seattle Symphony, and currently serves as Webmaster on the board of the Seattle Flute Society.  In 2016 Ms. Keith earned her Master of Music degree in Flute Performance at the University of Washington in Seattle with Donna Shin. Her undergraduate Bachelor of Music degree in flute performance was under the tutelage of Dr. Christine Erlander Beard at the University of Nebraska at Omaha, with whom she had studied since 2008.  Her studies in orchestral repertoire continued with Erica Peel of the Philadelphia Orchestra, and with Zart Dombourian-Eby of the Seattle Symphony. In addition to her Western classical flute training, Ms. Keith also studied the Chinese Dizi with flutist Jianxun Xia, and the Japanese Shinobue with flutist Kaoru Watanabe.

    Kin of the Moon is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of Kin of the Moon must be made payable to “Fractured Atlas” only and are tax-deductible to the extent permitted by law.



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    Oo...thank you...all the above goodies, plus we will write and perform a piece dedicated to you at one of our future public performances.


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    Roooaaaaaarrrrrr! You know you are special and so do we. We'll take you out for coffee and discuss the mysteries of the moon. Plus all that other stuff listed above.