Sam Wells is a Los Angeles-based trumpeter, composer, and improvisor who creates evocative and narrative multimedia performances.
Sam has performed throughout North America and Europe, as well as in China. He is a recipient of a 2016 Jerome Fund for New Music award, and his work, stringstrung, is the winner of the 2016 Miami International Guitar Festival Composition Competition. He has performed electroacoustic works for trumpet and presented his own music at the Bang on a Can Summer Festival, Chosen Vale International Trumpet Seminar, Electronic Music Midwest, Electroacoustic Barn Dance, NYCEMF, N_SEME, and SEAMUS festivals. Sam and his music have also been featured by the Kansas City Electronic Music and Arts Alliance (KcEMA) and Fulcrum Point Discoveries. He has also been a guest artist/composer at universities throughout North America.
Sam is a member of Arcus Collective, Kludge, and SPLICE Ensemble. Sam has performed with Contemporaneous, Metropolis Ensemble, TILT Brass, the Lucerne Festival Academy Orchestra, and the Colorado MahlerFest Orchestra. Samhas recorded on the Scarp Records, New Amsterdam/Nonesuch, New Focus Records, SEAMUS, and Ravello Recordings labels.
Sam is a DMA Candidate in the Performer-Composer program at the California Institute of the Arts. He has degrees in both performance and composition at the University of Missouri-Kansas City, and graduate degrees in Trumpet Performance and Computer Music Composition at Indiana University. He is on faculty at SPLICE Institute, Molloy College, Temple University, and the California Institute of the Arts.
© Sam Wells
Tim Feeney performs, composes, and improvises sounds in and for forests and grain silos, investigating unstable sound and duration. He appears in bookstores and basements with Sarah Hennies and Greg Stuart as the trio Meridian; in galleries and libraries with Vic Rawlings and Annie Lewandowski; in tunnels and train stops with Cody Putman and Cassia Streb as the trio Tasting Menu; in living rooms and warehouses with Clay Chaplin and Davy Sumner; in colleges and museums with Andrew Raffo Dewar, Holland Hopson, and Jane Cassidy; on recordings for Weighter, Intakt, Black Truffle, Rhizome.s, Caduc, Full Spectrum, Sedimental, and Marginal Frequency; and in the occasional festival or concert hall with Anthony Braxton and Ingrid Laubrock. He is a faculty member in percussion, improvisation, composition, and experimental sound practices at the California Institute of the Arts.
© Tim Feeney
I make musical stuff, currently studying computer music theory at the Graduate School of Korea National University of Arts.
My music has been "rarely" performed in South Korea and the United States. I have been interested in different sound materials’ characteristics, aura, and quality and trying to integrate them into the new systems and rules I create, usually derived from events or phenomena around me.
I am an enthusiastic advocate of electr(on)ic instruments such as electric guitar or self-made synths. Another big interest of mine is DSP with pre-recorded audio samples. I enjoy making ambient sounds and often pay attention to other well-known composers’ music to quote their musical fragments.
I think composing and performing music is a social activity. I concentrate on the social aspect of sonic events and try to highlight the social, cultural, political significance of music, sometimes twisting them to make humorous situations derived from musical materials’ extra-musical aura.
I sometimes work as an audio programmer using purr data mainly (w/ MAX and Supercollider as supplements). I am now seeking paid work or a job... I need money to buy some bitcoin these days. In the meantime, I usually crawl into my bed and worry about my future. – Patrick Sangbin Rhie
© Patrick Sangbin Rhie
Max Harper (b. 1992) is an image maker from Los Angeles. His work is focused on death, labor, and the expenditure of one’s own body through art practice.
© Max Harper
Alex Buck (b. 1980) is a composer-performer based in California praised for his “sophistication and originality in his aesthetic goals” (Flo Menezes). His electronic pieces are “masterfully arranged” (Raul da Gama). He “knows how to fill a frame perfectly” (Betzy Bromberg), creating “a sonic world that both grips and invites, impossible to resist” (Vicki Ray). Buck belongs to a select group of musicians with their work acknowledged by his peers from both electroacoustic music and jazz realms. Originally from São Paulo (BR), Alex is considered one of the most innovative Brazilian drummers ofhis generation, with a unique approach towards the instrument.
As a composer, he has specialized in acousmatic music creation, and his pieces have been the recipient of significant international prizes and nominations, including the first prize on Prix Métamorphoses (BE 2020); first prize on MusicWorks Magazine Electronic Music Composition Contest (CA 2019); the first prize on Musica Nova Electroacoustic Music Competition (CR - 2019); finalist on Prix Russolo (IT - 2021), Prix Métamorphoses (BE - 2018), festival Matera/Intermedia (IT - 2018 and 2021), Exhibitronic Festival (FR - 2017), and MusiLab International Festival (FR & MX - 2016).
Alex is also a dedicative educator. He has taught at renowned institutions such as the EMESP Tom Jobim (BR), Colégio Oswald de Andrade (BR), and, more recently, at the California Institute of the Arts (USA) where he is currently a DMA Lecturer in the Performer-Composer program. He received both his bachelor’s and master’s degrees in electroacoustic composition from UNESP (BR), where he studied with his mentor, composer Flo Menezes.
© Alex Buck
Kyle Bates is a West Coast based audiovisual artist, musician, and writer. He actively creates and performs in the project Drowse and has produced a range of releases for The Flenser, Whited Sepulchre Records, The Native Sound, Glowing Window Recordings, Apneic Void, and Television. His video work has been described as “incredibly lush and dreamy,” while his audio work has been referred to as “the aural equivalent of blood rushing back to a sleeping limb.” Bates is focused on exploring sound in tangible spaces, the bipolar experience, and making personal internal worlds public through sonic metaphor and autofiction techniques; he is influenced by Roland Barthes’s practice of reading the self as text. He plays with themes of memory, shame, detachment, sleep, fear, and human connection. His practice has included sound and text based performance art, installations, film and video game scores, and various writings. Bates has presented and performed work at festivals, spaces, and galleries in Spain, Iceland, Mexico, Japan, and across the United States. He holds an MFA in Electronic Music and Recording Media from Mills College and is currently pursuing a DMA at California Institute of the Arts.
© Kyle Bates
GIAHN is an interdisciplinary artist based in LA and South Korea.