"Lizzy Welsh is internationally renowned as a performer of early music, new music and experimental improvisation, principally on the baroque violin and modern violin.

As a baroque violinist, Lizzy's "characterful virtuosity" has cemented her as one of Australia's leading early music performers, who has appeared with Orchestra of the Antipodes, Freitags-Akademien (Berlin, Germany), Latitude 37, Van Diemen's Band, The Night Watch (Wellington, NZ), the Australian Romantic and Classical Orchestra, Accademia Arcadia, La Compañia, Ludovico's Band, Consort Eclectus and Harken Well.

Lizzy has been invited to perform at the Bendigo International Festival of Exploratory Music, the Adelaide Festival, the Melbourne International Arts Festival, the Melbourne Jazz Festival, the University of California San Diego's Springfest, Darmstadt Internationale Ferienkurse für Neue Musik, London Jazz Festival, Jazztopad Wrocław, Sacrum Profanum Festival (Krakow), Jazzfest Berlin, Sacred Realism (Berlin), Shanghai International Arts Festival, Shanghai New Music Week, Metropolis New Music Festival, and Wangaratta Jazz Festival.

Lizzy has presented scores of Australian and World premieres with ensembles including the Argonaut Ensemble, Golden Fur New Music Project, ELISION Ensemble, Chamber Made, and the Australian Art Orchestra. Lizzy is Artistic Director of Australia's leading new music string quartet, the Argonaut Quartet.

An advocate for creating new music for early instruments, Lizzy has a Doctor of Musical Arts in this field, and has developed one of the world's largest repertoires of new music for the baroque violin and viola d'amore, premiering many of these works at leading international festivals including the Darmstadt Internationale Ferienkurse für Neue Musik (Germany) and Sacrum Profanum Festival (Poland).

Lizzy has curated and produced performances for organisations including Arts House, the Bendigo International Festival of Exploratory Music, the Festival of Live Art, and the Metropolis New Music Festival.

As a composer, Lizzy implements elements of improvisation and organised randomness in spectral and experimental palettes."

"Erkki Veltheim (b. 1976 Finland) is an Australian composer, improviser, performer and interdisciplinary artist.

Erkki has been commissioned by the Adelaide Festival, Vivid Festival, Australian Art Orchestra and Soundstream Collective, and his pieces have been performed by groups such as the London Sinfonietta, Melbourne Symphony Orchestra and Sydney Symphony Orchestra. Recent projects include Gawanjalkmi (Song for the fallen) for voices and large ensemble (2015), in collaboration with Gurrumul and Jonno Yunupingu, commissioned by Skinnyfish and Gone West, Belgium; audiovisual performance work Another Other (2014/2016), with co-creators Anthony Pateras, Natasha Anderson and Sabina Maselli, commissioned by Chamber Made Opera; and audiovisual installation Fusion of Tongues (2015), commissioned by Punctum and La Maison Folie, Belgium, for 'Mons 2015 - European Capital of Culture' program.

Erkki has performed with the Australian Art Orchestra, Australian Chamber Orchestra, Berlin Philharmonic Orchestra, Elision and Ensemble Modern, and has featured as a soloist with the London Sinfonietta, Australian Opera and Melbourne Symphony Orchestra. He has long-standing collaborations with indigenous musician Gurrumul, improvising trumpet virtuoso Scott Tinkler, and composer-pianist Anthony Pateras.

Erkki is a recipient of a 2013 Myer Creative Fellowship, and in 2014 was appointed Artistic Associate of Chamber Made Opera. He holds a Master of Arts, for which he researched connections between music and ritual."

"Chloë Sobek is a composer-performer based in Naarm, Australia. Her work is currently centred on the development of a post-anthropocentric sonic practice that encompasses a diversity of enquiry from acoustemology through to noise music. She is invested in what creative practice can do to deconstruct and reshape the way we conceptualise our collective futures.

Chloë's practice is built around the Renaissance precursor to the double bass, the violone. Her creative process couples maximalist and musique concrète sensibilities such as audio-montage and electronic processing, with a handling of sound as a senate object, unlinked and undefined by its source.

Chloë has won the 2022 Allan Zavod Performers' Award, the Monash Jazz and Improvisation postgraduate award (2021), the Marten Bequest Scholarship (2020) and the RMIT Vice Chancellor's Award (2019). Chloë has also been awarded funding from the Australia Council of the Arts, the City of Melbourne, the Ian Potter Cultural Trust and was a scholarship student at the Australian National Academy of Music.

She has presented research and work at the Hochschule für Musik und Theater Hamburg, at TENOR2022 and is co-editor of Recent Networked Music: Performing in and Composing for the Ether issue of Contemporary Music Review (Taylor and Francis). Recent composition and performance highlights include, with the support of the Australia Council of the Arts, the commission to write, record and perform a work for Outlier (Lizzy Welsh and Chloë Sobek) and Tilman Robinson at Melbourne Recital Centre and The Theatre Royal (2021). With the support of the Marten Bequest, the commission to compose and perform a contemporary work for violone (2020) and with the support of the Castlemaine State Festival, the commission to compose and perform an animated score for Outlier (2019)."

"Alexander Garsden is a composer, guitarist and electroacoustic musician, working across multiple exploratory musical disciplines. He is based in regional Victoria, near Naarm (Melbourne), Australia.

His notated music has been commissioned by Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Speak Percussion, Michael Kieran Harvey, and Jessica Aszodi, amongst others. His research and compositional output primarily relates to novel approaches to frequency, inharmonicity, and extended just intonation.

His recorded collaborations include with Tetuzi Akiyama (Japan), Ida Duelund Hansen (Denmark), Julia Reidy, David Stackenäs (Sweden), and Quiver. He has performed with Oren Ambarchi, Natasha Anderson, Jim Denley, Rohan Drape, Golden Fur, Radu Malfatti (Austria), Kim Myhr (Norway), Joe Talia, Lizzy Welsh, Erkki Veltheim, and many of Melbourne's underground and folk acts including Ned Collette, Yuko Kono, Francis Plagne, and Grand Salvo.

From 2014 to 2019 Alexander was co-director of the INLAND Concert Series, which held over 50 concerts across Australia, showcasing artists whose work spans notated, improvised, electroacoustic, popular and interdisciplinary practices.

As an educator, he has taught through the RMIT and the University of Melbourne."

"Anthony Pateras is a composer and pianist. His works have been performed by The BBC Symphony, Los Angeles Philharmonic, Toronto Symphony, Australian Chamber Orchestra, Brett Dean, Jessica Aszodi as well as a large body of work for percussion by Synergy, Speak Percussion, Slagwerkgroep Den Haag, Vanessa Tomlinson, Diego Espinosa and the percussionists of the Basel Symphony.

Pateras is the producer/songwriter for tetema, a quartet with vocalist Mike Patton and frequent collaborators Will Guthrie (drums) and Erkki Veltheim (violin). Anthony has also performed concerts with Stephen O'Malley, Han Bennink, Paul Lovens, The Necks, eRikM, Valerio Tricoli, Anthony Burr, and has a working trio with Veltheim and trumpet virtuoso Scott Tinkler entitled North of North.

He has been commissioned by Radio France, SWR2 Baden-Baden, Melbourne Symphony, Kitchen Orchestra Stavanger, Muzzix Lille, Richard Tognetti, Lampo Chicago, Jérôme Noetinger, the National Gallery of Lithuania and Ensemble Hiatus through the French Ministry of Culture.

Pateras was the composer-in-residence at the Australian National Academy of Music in 2010, was nominated twice for the UNESCO Rostrum of Composers (2004, 2011) and is a recipient of the 2014 Myer Creative Fellowship.

Anthony has released over 30 albums on Tzadik, Editions Mego, Ipecac and on his own Immediata label. He holds a PhD in composition from Monash University, which explores intersections between composition, improvisation and electro-acoustic music."

"Jess Aszodi is an artist, researcher, educator and performer. Her mezzo voice has been praised the world over, for its unusual range, both in terms of colour and pitch, which makes it possible to perform repertoire across genres and voice types. She creates bespoke techniques and concepts from project to project and has built up a truly idiosyncratic set of embodied knowledges, from cycling while singing, to choreographically affected song, a unique teaching and embodiment methodology and a not small number of extremely extended vocal techniques. Her favourite thing is challenge.

Jess' performance work crosses between opera, experimental music, improvisation, composition, and music theatre.

She has performed as a soloist with opera houses and ensembles around the world including the London Sinfonietta, Wiener Volksoper, Nederlands Reisoper, Hamburg Staatsoper, Ensemble Musikfabrik, Melbourne, Sydney and Adelaide Symphony Orchestras, ICE, Pinchgut Opera, the Tirolean Symphony Orchestra, Victorian Opera, Sydney Chamber Opera, and the San Diego and Chicago Symphony Orchestras (chamber series).

Her Festival appearances include the Melbourne, Sydney and Adelaide Festivals, Darmstadt, Aldeburgh, Tectonics, Tanglewood, Klangspuren, Beethoven Festwoche, Resonant Bodies, Vivid Sydney, Aspen and BIFEM (where she was a long-time part of the curatorial team). A passionate exponent of new work she has performed important premieres by collaborators Liza Lim, Augusta Read Thomas, Dai Fujkura, Anthony Pateras, Jessie Marino, Cathy Milliken, Jenna Lyle, Sam Dunscombe, and Laura Bowler. She has twice been nominated for the Australian Greenroom Awards as 'best female operatic performer' - in both the leading and supporting categories.

Jess holds a Doctorate from the Queensland Conservatorium, and continues an artistic research and teaching practice focused on the materiality and politics of embodiment practices in the creation of new vocal performance. She has written articles for several books and journals and has a meaningful teaching practice that explores the bodily as well as theoretical applications of her research.

She likes difficult stuff. And takes pleasure getting messy in the process of creating thick, touching, thinking, pieces."

"Jon Heilbron is an Australian Double Bass player, improviser and composer, working within the areas of contemporary classical, improvised and experimental music. Jon has performed both as a soloist and with various groups in Australia, Germany, the United Kingdom, Argentina, Denmark, Israel, Russia, Norway, Austria and Singapore.

As an interpreter of contemporary music, he has performed with Klangforum Wien (Austria), Apartment House (UK), Kammerensemble Neue Musik (Germany), An Assembly (UK), Ensemble Soundinitiative (France) Konzert Minimal (Germany) and Ensemble Schallfeld (Austria).

He has presented music at festivals including the Darmstädter Ferienkürse (Germany), Archipel Geneva (Switzerland), Wien Modern (Austria), Manifeste Paris (France), the Impuls festival, Graz (Austria), The Bendigo International Festival of Exploratory Music (Australia), SpinaFest in St. Petersburg (Russia) and the Multiversal Festival in Copenhagen (Denmark).

He is active within improvised and experimental music with his collaborative groups Ellipsis, Arches, DRUM and doubleFRAU, and is the founder of the Phonetic Orchestra, an ensemble made up of some of Melbourne's most innovative emerging Improvisers, composers and performers."

"Sam Dunscombe is a performer, composer, sound artist, and audio engineer. Sam is interested in the multi-dimensional perception of time, which has led to explorations in spectralism, just-intonation, improvisation, the performance of complex-notated repertoire, field recording, audio engineering, and live electronic performance.

Sam has performed at major festivals and concert series around the world, including conducting the opening night concert of the 2019 MaerzMusik festival in Berlin, being an artist-in-residence at Ilan Volkov's Tectonics Festival in Tel Aviv, presenting a three day performance and sound installation at the Tokyo Experimental Festival, and many others.

Sam is an avid field recordist: in 2021, Outside Ludlow / Desert Disco (Black Truffle) combined field recordings with audio taken from scraps of 1/4″ tape found tangled around a cactus in the Mojave Desert. A second album, Two Forests / Oceanic, uses field recordings and rational tuning practice to reimagine the music used for psychedelic-assisted psychotherapy sessions, and is due for release on Nov 14, 2023 (also on Black Truffle). Alongside these hybrid works, Sam is also engaged in more traditional acoustic ecology practice, in particularl an ongoing ultra-large-scale field recording work "California Grid."

In June 2022, Sam released Horatiu Radulescu: Plasmatic Works Vol. 1 on Mode Records. This album focusses on Radulescu's early spectral works for winds and electronics, and will be followed by two more records in this series. Sam was awarded a Doctor of Musical Arts from UC San Diego in 2018, with a thesis exploring Radulescu's clarinet works, and has worked as the archivist to his estate since 2018. With generous funding from Musikfonds and the Berlin Senate, Sam is currently developing new methods for sound synthesis based on Radulescu's spectral techniques, "Mass Plasma Synthesis." Preliminary studies in this methodology can be heard on Bandcamp.

Sam is a member of several musical groups, including Berlin's Harmonic Space Orchestra, the Australian performer-composer trio Golden Fur (together with James Rushford and Judith Hamann), Oren Ambarchi's Carpe Diem, and duo projects with Michiko Ogawa, Rebecca Lane, Julia Reidy, and others."

Rebecca Lane is a flute and bass flute performer from Melbourne who is currently based in Berlin.