Kaitlyn Aurelia Smith has a curiously natural affinity with nature; she is extraordinarily grounded to the earth and has an uncanny ability to evoke the organic by means of a pure-sounding array of electroacoustic sounds and wide-ranging electronic synthesis. Kaitlyn has very quickly become a renowned proponent of vintage modular synthesizers, particularly the Buchla 100 series and the Music Easel developed by Don Buchla in the 1970s with dynamic performance in mind.
Smith grew up in an idyllic setting on Orcas Island, a paradisal oasis in Northwestern Washington, USA -- homeschooled by her parents and surrounded by a thriving diversity of wildlife. Kaitlyn left the island to study sound engineering and composition at Berklee College of Music in Boston. Originally drawn to traditional instruments -- such as piano, guitar and voice (which she still uses to startling effect) -- it was on returning to her island home that Kaitlyn discovered the seemingly endless possibilities of modular synthesizers to re-evoke the magic of her environment through sound. Smith arrives at composition, production and performance visually; still and moving pictures are part of her act but also serve as her inspiration during the creative process.
There came a series of self-released albums, then a signing to Western Vinyl in 2015 to make ‘Euclid’. The record garnered accolades with a surprisingly free flow and expansive sounds redolent of grand, open outdoor spaces incorporating geometry and synth-pop sensibilities in perfect harmony. Smith’s music always has a strong sense of joyous playfulness and feelings of ‘connectedness’ and euphoria are always likely to rub off onto you; never more so than on 2016’s ‘EARS’, an exotic and enchanting amalgam of tropical birdsong, multiple woodwind and vocal harmonies, and bubbling electronics.
A little later in 2016, Smith combined modular synth forces with veteran maestro and influence, Suzanne Ciani to make 'Sunergy' released by RVNG Intl for their FRKWYS series, volume 13. The duo worked in tandem to harness the power of the sun direct from Los Angeles.
‘The Kid’ (2017) was themed upon the various stages of life as experienced by a human on this planet, yet it sounds like nothing else on Earth. The Kid is corruscatingly metallic, harmonically uplifting and velvety-soft by turns and, compositional deep thinking notwithstanding, The Kid is the closest we’ve come so far in glimpsing both the mind and true soul of a continually developing, fascinating and life-affirming artist.