Scott Worthington is a double bassist and composer based in Los Angeles. As a performer, he plays in chamber ensembles, orchestras, recording studios, and as a soloist. His focus on contemporary music frequently leads to commissions and premieres of new works for solo bass. As a composer, Worthington often uses electronics and non-standard ensembles. He strives to write music that evokes a timeless, meditative state with spacious and resonant sounds. Populist Records has released two albums of his music, most recently, Prism, featuring his music for bass and electronics and bass ensemble. He can be heard on Albany Records, Bridge Records, Hat Hut, Naxos, Populist Records, and Tzadik. He performs on a copy of a Lorenzo Carcassi bass built for him by Barrie Kolstein.
Nicholas Deyoe is a composer, conductor, and guitarist born in Colorado and currently living and working in Southern California. Drawn to sounds that are inherently physical, Nicholas strives to create music that engages listeners intellectually and emotionally by appealing to their inner physicality. His compositions make use of noise, delicacy, drama, fantasy, brutality, and lyricism to create a diverse sonic expe- rience. As a guitarist, Nicholas strives to further the already vast sound world of the electric guitar by experimenting with microtonal tunings, preparation, bows, and beer cans. He has received commissions from Carnegie Hall, USINESONORE Festival, The La Jolla Symphony, Palimpsest, and several soloists. His music has been performed in Germany, Switzerland, France, Spain, The Netherlands, Iceland, Japan, and throughout North America. As a conductor, Nicholas has performed with The La Jolla Symphony Orchestra, Red Fish Blue Fish, Ensemble Ascolta, The Darmstadt Preisträgerensemble, Noise, The University of Northern Colorado Symphony Orchestra, and many ad-hoc ensembles in the United States and Germany. He holds a Ph.D. in com- position from UC San Diego where he studied with Roger Reynolds. Deyoe’s composi- tions and improvisations can be heard on Populist, Spektral, khalija and Eh? Records.
As a composer, Brian Griffeath-Loeb is primarily engaged with aesthetics of the avant-garde, stemming from a background in European Modernism and American Experimentalism. His work is uncompromising. Constant reevaluation of habit is central to keeping the music alive, to seeing—as painter Jack Tworkov put it—“beyond what others have decided should be the limits of art.” Areas of inquiry include chaotic behavior, microtonality, extended instrumental soundworlds, and collaborative experimentation. He maintains an active presence in the field, working with performers and ensembles of international reputation (e.g., Talea, soundSCAPE, the JACK Quartet), attending residencies and festivals (e.g., Darmstadt, Banff Centre, June in Buffalo, Harvard Summer Composition Institute), and presenting talks on his music (e.g., at Dartmouth, Harvard, Stanford, UC Berkeley). Future projects and performances extend to Brazil, Canada, Costa Rica, England, Iceland, as well as various locations within the U.S.
Matt Barbier (CIM-BM/CalArts- MFA) is an LA based trombonist and composer focused primarily in the fields of experimental intonation, noise, and the physical processes of his instrument. Working collaboratively with composers such as Wolfgang von Schweinitz, Ulrich Krieger and Marc Sabat, he eagerly engages with the emerging field of just intonation for brass instruments. His work with Wolfgang von Schweinitz has been highlighted by widely performing JUZ, Wolfgang’s expansive work for solo trombone and playback. A work that had previously been abandoned due to the extreme multiphonic demands, but revived in a collaborative effort between Matt and Wolfgang. Matt is a founding member of gnarwhallaby, a Los Angeles based mixed quartet formed to revive the repertoire of Poland’s Warsztat Muzyczny, and Trio Kobayashi, an ensemble founded formed to perform the music of Wolfgang von Schweinitz. He also performs as a member of wildUp! and the Industry LA. Matt has rec- orded works for release of Populist, Mode and Innova Records. His trombone teachers in- clude Rick Stout, Jim Miller, Alex Iles and Dick Erb. He studied composition with Ulrich Krieger and Wolfgang von Schweinitz.
Élise Roy (M.F.A. CalArts/ B.Mus Oberlin) is an active flutist, improviser, and composer who strives to find a unique and modern voice for the flute, which is ultimately the source of her musical expression in all of her various roles. As a performer-composer, Élise is fascinated with expanding the expressive possibilities of the flute — often through the novel convergence of extended techniques and electroacoustics. Her recent electroacoustic works have been selected for performance at Electronic Music Midwest (Kansas), EABD (Virginia), South Carolina State University, inner sOUndscapes (Oklahoma), PAS-E (Venice, Italy) NYCEMF (New York), and SEAMUS National Conference (Connecticut). Élise was the runner-up in the national ASCAP/SEAMUS Student Commission Competition and a finalist in the ASCAP Morton Gould Young Composer Awards. Her fixed media work, bas relief (Flutescape I), appeared on the SEAMUS Electroacoustic Miniatures 2013: Negative Space album.
As a flutist, in addition to premiering her own works, Élise has premiered works by composers such as Erik Ulman, Kurt Isaacson, Lewis Nielson, Tom Lopez, and Peter Swendsen. In an ensemble setting she has worked with composers Olga Neuwirth, Sofia Gubaidulina, and Huang Ruo. Recently, Élise appeared as a soloist with the Stanford New Ensemble and was a featured artist at the Chicago Flute Club Festival, performing alongside Molly Barth. Élise currently resides in Los Angeles with her partner Kurt Isaacson.