“Composers Find Transcendence, and Inspiration, at the Club” | The New York Times | March 10, 2023 by Jeffrey Arlo Brown
Fure’s work is featured in a long form article exploring the impact of Berlin’s iconic club Berghain on contemporary composers.
“Notable Performances and Recordings of 2021” | The New Yorker | December 9, 2021 by Alex Ross
Alex Ross lists Hive Rise in his year-end best-of list, as well as a lengthy quote from Fure’s 2020 Album Release, Something to Hunt. “Ash Fure, whose installation “Hive Rise” is listed below, made a striking comment in a printed interview last year: ‘We have so few civic spaces left that allow us to commune outside language. And while there is much in classical music culture I find haunting—its colonial history, its homogeneity, its exorbitant cost—the gatherings that tradition calls forth are some of the last in the West to carry an expectation of phone-free focus and collective quiet. I still find it deeply strange and deeply moving that humans come together in silence just so air molecules can bump against their skin at the same time . . . I am drawn to sound because of sound’s ability to draw us into our bodies and into each other in radically present ways.’
“Ash Fure’s HIVE RISE is a Visceral Experience in Sound” | The New Yorker | December 6, 2021 by Alex Ross
Alex Ross lauds Hive Rise in this stunning review, writing, “Fure’s acoustical tidal wave, ravishing and dangerous, left a constructive kind of panic in its wake.”
“HIVE RISE” | No Proscenium | November 24, 2021 by Laura Hess
“A profound communal exchange, Hive Rise articulated the primal heartbreak, rage, and existential loneliness of recent events such as the pandemic, and systemic issues such as colonization and injustices of all kinds. The experience was a shattering example of the transformational power of sound.”
“An immersive sonic experience marks the Industry’s return to live performance” | Los Angeles Times | Nov 19, 2021 by Jessica Gelt
The LA Times previews Hive Rise’s US debut, describing it as a “somatic landscape that seeks to cultivate a sense of collectivity during a distressingly isolating and disjointed time.”
“HIVE RISE” | Time Out LA | October 19, 2021
Time Out LA alerts its readers to the ticket release of Hive Rise, which sold out in 3 minutes.
“The Industry began as an experiment and is dedicated to the experimental,” Sharon said in an official statement. “The inauguration of an artistic director cooperative might be our most far-reaching experiment yet.”
“Ruth Eliel, Chair of the Board of Directors at The Los Angeles-based interdisciplinary production company, The Industry, announced a radical change in management structure, establishing a cooperative of three co-artistic directors called Artistic Director Cooperative.”
“The Industry, Yuval Sharon’s Opera Company in L.A, Adds Two Artistic Directors” | ArtsJournal: Arts, Culture, Ideas | June 22, 2021
“In what he describes as a deliberate effort to make the organization more diverse on a managerial as well as an artistic level, [Sharon] and the board have taken on two co-artistic directors, composer Ashley Fure and interdisciplinary artist Malik Gaines.”
“The Industry, L.A.’s groundbreaking opera company, casts new leaders” | Los Angeles Times | June 21, 2021 by Jessica Gelt
“The company is attempting to expand its voice and reach by adding sonic artist Ash Fure and interdisciplinary artist Malik Gaines as artistic directors, serving alongside Sharon.”
“Ash Fure and Nate Wooley: In Conversation” | Chamber Music America | January 17, 2021 by Peter Margasak
“The composer and trumpeter met over Zoom to discuss the untapped potential of the performance space, the ethics of collaboration, and the social complexity at the heart of their music.”
“Best Tracks of 2020” | The New York Times | December 17, 2020
Shiver Lung from Sound American’s Portrait Album is named amongst The New York Times’ ‘Best Tracks of 2020.’
“The Best Contemporary Classical Albums of 2020” | Bandcamp Daily | December 10, 2020 by Peter Margasak
“…unfolding with a drama so riveting, episodic, and alien it’s hard to know whether the listener should be petrified or electrified.”
“Best Classical Music of 2020” | The New York Times | December 2, 2020 by David Allen
“And there has been plenty of new music, too, best of all an overdue portrait of Ash Fure’s inimitable explorations of tactile sound (Sound American). More, please.”
“Staff Picks – October 2020” | The Attic | November 10, 2020 by Dragos Rusu and Victor Stutz
“Close, transparent sound that inhabits your psyche and transcends form, melody, and harmony.”
“October 2020 in Experimental Music” | The Road to Sound | November 9, 2020 by Vanessa Ague
“Gritty, visceral sound of all kinds that captures the essence of storytelling through the drama of tension and release.”
“Composer Ash Fure Tells Vivid Stories with Unsual Sounds” | Bandcamp Daily | October 29, 2020 by Vanessa Ague
“While it may seem impossible to bring a story to life without words, in Fure’s music, it’s the sounds that are alive, and they speak as much as words do, or perhaps even more.”
“In Music of Gritty Appeal, Composer Ashley Fure Celebrates the Physicality of Sound” | San Francisco Chronicle | October 28, 2020 by Joshua Kosman
Kosman calls Something to Hunt "an elaborate and beguiling portrait” and “a peculiarly poignant vein of music to experience during the isolation of the pandemic."
“Best of Bandcamp Daily Contemporary Classical: October 2020” | Bandcamp Daily | October 26, 2020 by Peter Margasak
“Fure has succeeded magnificently here, with no visual cues required."
“Gothic Kinship: Ash Fure’s Something to Hunt” | San Francisco Classical Voice | October 19, 2020 by Tamzin Eliott
“Her sounds are immediate, they cleave close to the bone, and they feel tactile in a way that relates more to one’s naked body than to sound coming from a stage.”
“Under Pressure” | The New Yorker | July 7, 2020 by Alex Ross
Ross review the virtual premiere of Fure’s Interior Listening Protocol 1, describing it “delivered an experience so vivid that I almost felt the need to lie down afterward.”
“Lincoln Center Awards for Emerging Artists Celebrate Ten Remarkable and Rising Talents” | Broadway World | December 13, 2018 by Seth Colter Walls
Fure receives the endowed Hunt Family Award in this year’s crop of Emerging Artist awardees.
“The 10 Best Classical-Music Performances of 2018” | Vulture | December 7, 2018 by Justin Davidson
Filament, at the New York Philharmonic, ranks third in Davidson’s top ten year-end round up. He writes, “The world premiere of Ashley Fure’s new work was a powerful reminder that all music is born from noise, and it gave unclassifiable sounds a depth and drama that are the exact opposite of chaos.”
“The Best Classical Music of 2018” | The New York Times | December 5, 2018 by Anthony Tommasini, Zachary Woolfe, Joshua Barone, and Seth Colter Walls
Tommasini lists the “mystical...dangerous” Filament in his “Best Surprises of the Year,” while Zachary Woolfe puts both The Force of Things at Mostly Mozart and Filament amongst his “Best Performances of the Year,” writing ,“A one-two punch this year brought this young composer firmly into the New York musical spotlight.”
“Loop38 Explores the Bodies Behind the Music” | Houstonia | November 13, 2018 by Hannah Che
A preview of Albatross’ premiere in Houston by Loop38.
“Review: New Works Designed with a Daring Trumpeter in Mind” | The New York Times | November 2, 2018 by Seth Colter Walls
Walls’ response to A Library on Lighting at Issue Project Room: “The intimacy of the Brooklyn space didn’t sap any of Ms. Fure’s intensity: The final buzzing chords hit with extraordinary force.”
“A Hell-raising Soprano Cuts Through a Dreary First Week at the Metropolitan Opera” | The New Yorker | October 4, 2018 by Alex Ross
Ross calls Fure “blazingly inventive,” and Filament “as experimental a work as the Philharmonic has attempted since Karlheinz Stockhausen invaded the premises in the early seventies.”
“A New Season at the Met Opera: The Week in Classical Music” | The New York Times | September 28, 2018 by Anthony Tommasini
“It’s not often that you get a chance to hear an ambitious new orchestral work twice…This absorbing work…came across again like an immersive, yet kinetic and atmospheric sound environment. I heard even more details and strange intricacies the second time.”
“Review: The Jaap van Zweden Era Begins at the Philharmonic” | The New York Times | September 21, 2018 by Anthony Tommasini
Tommasini calls Filament, “Astringently captivating… ravishing…I loved being part of this enveloping sonic and communal experience.”
“Jaap Takes Charge: The Week in Classical Music” | The New York Times | September 21, 2018 by Michael Cooper and Josh Barone
Michael Cooper writes, “I loved the eerie, immersive Ashley Fure premiere, Filament.” Josh Barone follows, “I can’t recommend Filament enough… a brilliant use of David Geffen Hall, and a fascinating study of musical teamwork and auditory perception.”
“What’s Opera, Jaap? Van Zweden’s Opening Night as the Philharmonic’s New Leader” | Vulture | September 21, 2018 by Justin Davidson
“Filament roared, and when it was done, the crowd roared back…Fure is a revelation...”
“Megaphones Up, the Philharmonic Opens With Two Young Voices” | The New York Times | September 18, 2018 by Joshua Barone
An extensive preview of Filament leading up to opening night.
“5 Classical Music Faces to Watch This Season” | The New York Times | September 14, 2018 by Zachary Woolfe and Joshua Barone
Fure previewed in this shortlist of young voices to watch this musical season.
“The Sounds of Music in the 21st Century” | The New Yorker | August 27, 2018 by Alex Ross
Ross closes this rumination on the music of our time by linking Fure’s upcoming Filament premiere to Stravinsky’s Rite of Spring.
“Ashley and Adam Fure’s The Force of Things at Mostly Mozart” | I Care if You Listen | August 23, 2018 by Rebecca Lentjes
“The Fure siblings have created an environment for sound and listening in which aural perception occurs through multi-sensory immersion rather than passive reception…Ashley Fure defies conventions of directional listening and allows for a wholly new and innovative experience.”
“Turning Climate Crisis into Sound: The Week in Classical Music” | The New York Times | August 10, 2018 by Zachary Woolfe
“A simultaneously glacial and tumultuous abstract drama, it attempts to wrestle in sound with the paradox that is ours: A fundamental threat, climate change, whose progress is both undetectable and devastating. How, in other words, to capture the emotional landscape of our time?”
“Review: An ‘Opera for Objects’ Makes Music Out of Fear” | The New York Times | August 7, 2018 by Corinna da Fonseca-Wollheim
“A powerful expression in sound of ecological dread…it has an ominous elegance that…is singularly effective.”
“What’s That Sound? In Ashley Fure’s Compositions, It Could Be Almost Anything.” | New York Magazine | August 6, 2018 by Justin Davidson
An extensive feature on Fure’s work and her collaborative installation opera The Force of Things.
“Ashley Fure on Learning From What You Hate” | Red Bull Music Academy Daily | July 11, 2018 by Aaron Gonsher
An extensive interview with Red Bull Academy’s Aaron Gonsher on Fure’s work.
“Big Ears 2018: 10 Best Things We Saw.” | Rolling Stone | March 26, 2018 by Cristopher R. Weingarten
Fure’s Therefore I Was, performed by ICE, is listed in this top ten report from Knoxville, Tennessee.
“Composer Ashley Fure Explores the Collision of Traditional Instruments and Electronics” | San Francisco Classical Voice | February 13, 2018 by Rebecca Wishnia
Wishnia “can’t remember the last time a program was so thought-provoking,” as Fure’s portrait concert at Mills College.
“New York Philharmonic’s CONTACT! at National Sawdust” | I Care if You Listen | January 24, 2018 by Alyssa Kayser-Hirsh
Kayser-Hirsh recalls sitting “with held breath,” awed by the “immense, technical precision” Therefore I Was demands.
“Review: CONTACT! at New York Philharmonic and National Sawdust - A Roll of Duct Tape Made me Cry.” | Broadway World | Jan. 9, 2018 by Cole Grissom
Grissom writes of the strikingly wrenching roll of duct tape from Fure’s “ethereal,” and “transformative” Therefore I Was.
“The Top 15 NJ Theater Productions of 2017” | NJArts | December 29, 2017 by Jay Lustig
Lustig lists the “immersive and compelling” Force of Things amongst his top theater experiences of the year.
“Best of 2017: 10 Memorable Musical Events” | National Sawdust Log | December 28, 2017 by Steve Smith
Smith writes The Force of Things “was awe-inspiring in its imaginative ingenuity and gut-wrenching in its underlying implications.”
“Notable Performances and Recordings of 2017” | The New Yorker | December 11, 2017 by Alex Ross
Ross calls The Force of Things “the most purely visceral music-theatre outing of the year,” in this year-end best-of list.
“Tremors” | The New Yorker | October 23, 2017 by Alex Ross
Alex Ross reviews “the sensuous unease” of Fure’s “staggeringly original” The Force of Things: An Opera for Objects.
“Review: An Indirectly Audible Opera” | The New York Times | October 10, 2017 by Seth Colter Walls
“After we had gone through a collective, thorough contemplation of oft-ignored, barely detectable causes and effects, the operatic voice was ready to sing — and to sound truly, traditionally beautiful — once more.”
“Ashley Fure’s wordless opera ‘The Force of Things’ Evokes the Force of Nature” | NJ Arts | October 7, 2017 by Jay Lustig
Lustig calls The Force of Things “a fully realized and powerful work — viscerally compelling in a way that experimental music rarely is…I’d enthusiastically recommended it to anyone interested in exploring new ways to experience music.”
“Review: Nate Wooley’s Festival Delivers a New, Idiosyncratic Repertoire for Trumpet” | The New York Times | October 1, 2017 by Seth Colter Walls
Walls reviews the premiere of Shiver Lung 2, “a striking work for percussion and electronics.”
“Your Week in Culture” | New York Times | September 29, 2017 by William Robin
The New York Times features The Force of Things: An Opera for Objects on its list of October must-sees.
“Up Close” | Harvard Magazine | September 26, 2017 by Jennifer Gersten
Harvard Magazine publishes a profile on Fure’s work and the upcoming East coast premiere of The Force of Things during Peak Performances.
“HE & Me with Ashley Fure” | Times Higher Education | June 29, 2017 by John Elmes
Questions on a range of topics from England’s premiere education magazine.
“Composer Ashley Fure Adds Rome Prize to 2017 Accolades” | Dartmouth News | April 24, 2017 by Hannah Silverstein
Silverstein writes of Fure’s batch of April prizes including a Rome Prize, a Guggenheim Fellowship, a DAAD Artist-in-Berlin Prize, and a finalist nod from the Pulitzer Prize.
“2016 Pulitzer Prize Winners” | The New York Times | April 11, 2017
Fure’s work Bound to the Bow is announced as a finalist for the 2016 Pulitzer Prize in Music Composition.
“Peak Performances Devotes Season of Works to Women” | The New York Times | April 2, 2017 by Andrew R. Chow
Fure’s installation opera The Force of Things is featured in this announcement of the upcoming 2017/18 Peak Performances season.
“Lyric Engine: An Interview with Ashley Fure” | Van Magazine | March 30, 2017 by Jeff Arlo Brown
An interview about Fure’s work Anima, for augmented string quartet.
“Die Klassische Musik hat ein Sexismusproblem” | Sueddeutsch Zeitung | January 11, 2017 by Simon Tonies
One of Germany’s leading newspapers analyzes ‘the gender problem’ in New Music and cites Fure’s research into gender dynamics at the Darmstadt Internationale Ferienkürse fur Neue Musik.
“Notable Performances and Recordings of 2016” | The New Yorker | Dec 27, 2016 by Alex Ross
In his year-end review, Alex Ross names Fure’s Bound to the Bow at the NY Phil Biennial a highlight of his 2016 season.
“A History of Classical Music (The Women-Only Version)” | The New York Times | Dec 2, 2016 by Alice Gregory
In this historical synopsis of female composers, The New York Times highlights the work of women making music from 1151, right down to 2016 and Ashley Fure.
“Map of The New” | The New Yorker | June 27, 2016 by Alex Ross
Bound to the Bow named the "most arresting of the world premieres" at the NY Phil Biennial.
“Review: At NY Phil Biennial, Interlochen Rises to the Occasion” | The New York Times | June 6, 2016 by James Oestreich
Bound to the Bow called "boldly individual" and "compelling, beginning to end" in the New York Times review of Interlochen's Biennial Performance.
“Rising Start Composer Wins Prestigious Award” | Dartmouth News | February 22, 2016 by Hannah Silverstein
A look back at Fure's compositional career and her path to Dartmouth College.
“Review: Ashley Fure Highlighted in a Composer Portrait at Columbia” | The New York Times | Feb 8, 2016 by Corinna da Fonseca-Wollheim
The New York Times calls Fure’s work “richly satisfying” and imbued with “profound expressivity.”
“Chains Clink, Water Splashes: A Composer’s Beautiful Noise” | The New York Times | January 28, 2016 by David Allen
An in-depth portrait of Fure’s work published as a full-page spread in the Sunday Arts and Leisure section of The New York Times.