IMG 6521

Somewhere between a chamber orchestra and an improv group, Compersion creates sublime grooves to help you hover just above the earth. Implementing upright bass, flute, violin, bass clarinet, and marimba/vibraphone, this group of five musicians from diverse backgrounds channels odd rhythms and harmonic lushness into transcendental bliss. Bassist C.J. Boyd has pulled together percussion doctorate Hannah Ransom, 6-string violinist Ryvyr Nyx, experimental clarinetist Jessie Demaree, and self-taught flautist Grant Beyschau to blend their dreams and questions into a sonic meditation.



Wend began as the solo project of multi-instrumentalist Riley Johnson, with a harp and vocals ran through an array of effects pedals to create a spacious, ethereal psychedelic backdrop. From that starting point it has grown into a full 8 piece ensemble, a combination of a rock band and a string quartet. For this Kin show, WEND will be performing in all its current iterations, from an ambient two piece to a string quartet centric 6 piece to the full 8 person ensemble, with music ranging from collaboratively written psych-prog rock to Johnson’s own emotionally orchestrated compositions, and of course the hypnotic lullabies for which the band is known best. As one YouTube user said, “I feel like I just dropped acid at a Renaissance Fair”


St. Terrible

St. Terrible is a musician and performance artist based out of Boise, Idaho. Ranging from the beautiful to the bizarre, his work is eclectic and ever changing in it’s sound, form and presentation.

The Gospel of Nothingness was created by St. Terrible in 2015. Working in collaboration with a large cast of artists specializing in everything from music to dance to set design, The Gospel of Nothingness is an immersive experience that incorporates elements from a wide range of arts and music to create a unique and expansive world that is always changing and endless in it’s stories.

“St. Terrible, a Boise, Idaho-based self-dubbed “freak folk” artist, has been, knowingly or not, spreading his own Gospel of Nothingness that not only taps into these Buddhist themes, but celebrates them with a jubilance. Mixing the joyfulness of a sermon, religious iconography, and a transgressive approach to performance itself which seeks too subvert the performer vs. audience dynamic, St. Terrible and the Gospel of Nothingness have created an expansive and embracing experience that is vital and vibrant.” – Lex Voight, LA Music Blog