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Discography
Art by Alex Allen; photo Michelle Smith-Lewis; hair and makeup Gina Bettelli
Out March 15, 2024 on Strange Moon Records
On her second album Lookout, Eaton regularly makes pressure-testing trips from the vast cosmos down to the particular details of home in the Pacific Northwest. In her words, “It’s a behemoth.” From the ever-expanding space of jazz cymbals, flute, and harp, down to the folksy pluck of her banjo — a prized recent acquisition — and the grounding chords of her great-great-great grandmother's piano, which shipped up the Missouri River to the family homestead in Montana. - Ian Shuler
Cedar is composer-vocalist-pianist-producer-singer-songwriter Kaley Lane Eaton’s debut album, an electro-chamber pop song cycle that is equal parts origin story and manifesto. Written in the dead of lockdown and the west coast wildfire crisis of 2020, cedar ties the loss of mother, to the loss of societal intuition, to the loss of beloved landscape that we collectively face. Eaton’s orientation in both art song and ambient IDM, intertwined with the virtuosity of Seattle’s best neo-jazz and classical improvisers, captures a distinct Pacific Northwestern aesthetic: tuneful beauty, solitude, and destructive noise.
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Album art by Alex Allen
Electronic improvisations, recorded and released each day for the first month of the COVID-19 pandemic.
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Scored Compositions
Titles link to media (recordings, score preview, purchase links)
comedy of air (2022) 20’
for Strange Moon
(harp, cello, viola, flute, voice)
dissociation (2020) 17’
for Seattle Modern Orchestra
(speaking/singing percussion, piano, electric guitar, saxophone, clarinet, viola)
FREE (2019-2020) 15’
(piano, electronics, video)
KEEPING IT TOGETHER (2019) 5’
(violin)
PSYCHOGRAPHICS (2019) 33’
for Fresh Squeezed Opera
(sop, mezzo sop, vc, perc, electronics)
Funeral sentences for damaged cells (2019) 23’
(fl, electric vln, soprano)
BIG DATA (2019) 11’
for the Seattle Symphony Orchestra
(cl, string quartet, electronics)
Poem in praise of menstruation (2019) 7’
(sop, vcl)
text by Lucille Clifton
Anarchy in flight (2019) 15’
(electronic dance score)
Commissioned by Alethea Alexander and UW Dance Presents
Sea change within us (2019) 30’
(fixed electronic dance score for Karin Stevens Dance)
Lily [bloom in my darkness] (2017-2018) 37’
(mezzo sop, cl, vla, vcl, hp, electronics)
libretto by felicia klingenberg
(bass flute/picc, bass clarinet, vc, vla, hp, electronics)
(fl, vla, sop)
Atmokinesis (2017) 30’ co-composed with Leanna Keith and Heather Bentley
(fl, vla, electronics)
(hp, vc)
(Live interactive installation and binaural headphone experience)
More about this work here.
(solo voice and electronics)
(vln, vc, pno)
The way the earthquake felt on the coast (2015) 10’
(vln, vc, db)
Don’t trust air you can’t see (2014) 5’
(vln, vc)
Chinook (2014) 12’
(fl, cl, vln, vla, vc, hp)
(fixed media)
(fixed media)
hummingbird/butterfly (2014) 5’
Orchestra (picc, fl, afl, ob, cl, bcl, bsn, 4 hn, tpt, perc, strings)
From the archive, children of air india (2013) 15’
(sop, pno, electronics) with poetry by Renee Sarojini Saklikar
RUN (2013) 6’
(sop, alto, baritone)
Some reasons why we play (2013) 10’
(fl, vc, perc)
(string quartet)Chamber Ensemble