Ailie Ormston and Tim Fraser
It Changes
Boomkat Product Review:
Absolutely crackers material from Ailie Ormston and Tim Fraser that shunts UK dance themes through broken cultural motifs, field recordings and chillingly plastic General MIDI instrumentation. One part James Ferarro, one part Theo Burt, one part Farmers Manual?
In an attempt to portray the labyrinth of post-neoliberal British culture in the 2020s, Ormston and Fraser use the past as a grab-bag of influences to inspire their bonkers sound collages. It's hard to know at any point whether they're serious or not as they re-interpret rave classics, sing odes to MMORPG soundtracks and re-tool MIDI strings in cacophonous avant-classical sweeps. The title of the album is snipped from a 1972 Sherman Brothers song that accompanied Charles Shultz's "Snoopy Come Home", and Ormston and Fraser claim to have built their narrative around the alienation and attachment associated with Peanuts characters. They initially wrote the piece for Counterflows festival, completing it during lockdown using "voice notes and a headphone cable stretching between Tim and Allie’s neighbouring flats".
Not an easy listen by any means, it's part cynical expression of British malaise, part sentimental reflection of the trash-compactor cultural landscape. Clever stuff, often completely alienating, and ultimately quite brilliant.
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Boomkat Product Review:
Absolutely crackers material from Ailie Ormston and Tim Fraser that shunts UK dance themes through broken cultural motifs, field recordings and chillingly plastic General MIDI instrumentation. One part James Ferarro, one part Theo Burt, one part Farmers Manual?
In an attempt to portray the labyrinth of post-neoliberal British culture in the 2020s, Ormston and Fraser use the past as a grab-bag of influences to inspire their bonkers sound collages. It's hard to know at any point whether they're serious or not as they re-interpret rave classics, sing odes to MMORPG soundtracks and re-tool MIDI strings in cacophonous avant-classical sweeps. The title of the album is snipped from a 1972 Sherman Brothers song that accompanied Charles Shultz's "Snoopy Come Home", and Ormston and Fraser claim to have built their narrative around the alienation and attachment associated with Peanuts characters. They initially wrote the piece for Counterflows festival, completing it during lockdown using "voice notes and a headphone cable stretching between Tim and Allie’s neighbouring flats".
Not an easy listen by any means, it's part cynical expression of British malaise, part sentimental reflection of the trash-compactor cultural landscape. Clever stuff, often completely alienating, and ultimately quite brilliant.
Boomkat Product Review:
Absolutely crackers material from Ailie Ormston and Tim Fraser that shunts UK dance themes through broken cultural motifs, field recordings and chillingly plastic General MIDI instrumentation. One part James Ferarro, one part Theo Burt, one part Farmers Manual?
In an attempt to portray the labyrinth of post-neoliberal British culture in the 2020s, Ormston and Fraser use the past as a grab-bag of influences to inspire their bonkers sound collages. It's hard to know at any point whether they're serious or not as they re-interpret rave classics, sing odes to MMORPG soundtracks and re-tool MIDI strings in cacophonous avant-classical sweeps. The title of the album is snipped from a 1972 Sherman Brothers song that accompanied Charles Shultz's "Snoopy Come Home", and Ormston and Fraser claim to have built their narrative around the alienation and attachment associated with Peanuts characters. They initially wrote the piece for Counterflows festival, completing it during lockdown using "voice notes and a headphone cable stretching between Tim and Allie’s neighbouring flats".
Not an easy listen by any means, it's part cynical expression of British malaise, part sentimental reflection of the trash-compactor cultural landscape. Clever stuff, often completely alienating, and ultimately quite brilliant.
Boomkat Product Review:
Absolutely crackers material from Ailie Ormston and Tim Fraser that shunts UK dance themes through broken cultural motifs, field recordings and chillingly plastic General MIDI instrumentation. One part James Ferarro, one part Theo Burt, one part Farmers Manual?
In an attempt to portray the labyrinth of post-neoliberal British culture in the 2020s, Ormston and Fraser use the past as a grab-bag of influences to inspire their bonkers sound collages. It's hard to know at any point whether they're serious or not as they re-interpret rave classics, sing odes to MMORPG soundtracks and re-tool MIDI strings in cacophonous avant-classical sweeps. The title of the album is snipped from a 1972 Sherman Brothers song that accompanied Charles Shultz's "Snoopy Come Home", and Ormston and Fraser claim to have built their narrative around the alienation and attachment associated with Peanuts characters. They initially wrote the piece for Counterflows festival, completing it during lockdown using "voice notes and a headphone cable stretching between Tim and Allie’s neighbouring flats".
Not an easy listen by any means, it's part cynical expression of British malaise, part sentimental reflection of the trash-compactor cultural landscape. Clever stuff, often completely alienating, and ultimately quite brilliant.
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