Ashley Fure's compositions are defined by their raw, unmediated power, blending acoustic interferences with performative intensity. She dissects and deconstructs complex sound relationships, transforming them into dynamic musical forms that teeter on the brink of collapse. From the electronically enhanced solo Wire & Wool to orchestral works like Cyan and immersive installations like The Force of Things, Fure’s diverse body of work explores movement, plasticity, and immersive sonic landscapes.

Fure’s practice involves breaking down sonic materials into discrete particles that are then elongated, distorted, and interwoven, creating fluid transitions between different sound densities, as seen in pieces like Feed Forward and Bound to the Bow. Her compositions oscillate between fragile, finely detailed textures and robust, forceful sounds. In Something to Hunt, for example, the contrabass player is pushed to explore the extremes of the instrument’s sonic possibilities, producing tangible, sculptural soundscapes that engage both performer and audience in a kinetic dialogue.

Her installations, such as Veer and Hover, integrate acoustic and sensor-controlled environments that respond to the audience’s presence. By merging organic materials like cotton and latex with dynamic soundscapes, she crafts interactive spaces that blur the lines between human and non-human actors, creating a shared, vibrating hyper-environment.

A celebrated figure in contemporary music, Fure has earned numerous prestigious awards, including the Guggenheim Fellowship and Rome Prize, and currently serves as Associate Professor of Sonic Arts at Dartmouth College.

• Something To Hunt, by Ash Fure

• Something To Hunt, by Ash Fure