Ailie Ormston, Han, Alexandra Spence, Yes Indeed

Alexandra Spence is a sound artist and musician living on unceded Wangal land in Sydney, Australia. Through her practice Alex attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. Her aesthetic favours field recordings, analogue technologies and object interventions. Alex has presented her art and music in Australia, Asia, Europe, and North America including the Vancouver Art Gallery; BBC Radio; Ausland, Berlin; Café Oto, London; EMS, Stockholm; Punkt Festival, Kristiansand; Radiophrenia, Glasgow; Museo Reina Sofia, Madrid; Sound Forms Festival, Hong Kong; MONO, Brisbane; The Substation, Melbourne; Soft Centre, and Liveworks Festival, with Liquid Architecture, Sydney. She has released her music with labels Room40, Longform editions, More Mars (w. MP Hopkins) and Canti Magnetici, and has a forthcoming release with Mappa. (She holds the belief that electricity might actually be magic)

Ailie Ormston is a Scottish musician who works mostly collaboratively. Ormston intends to confront the traditions of presenting, performing and digesting music in an attempt to articulate a form of a contemporary condition. They aim to construct a coherent visual language that corresponds to music writing, carrying its ethos into different forms and varying modes of communication. 2022 saw the release of It Changes, an album with Tim Fraser; they performed at Counterflows, a music festival in Glasgow in 2019. Ailie released an album with Finlay Clark, ‘Sunflowers Face The Sun’ in 2020 on 33-33, as well as a solo double EP, ‘The Sedate/Tony Soprano Fashion Inspo’ in 2018.

Han’s music is her attempt to make dance music without following any of dance music’s conventions, resulting in what must then be experimental electronic music. Her recent cassette release on GLARC was conceptualised around a fictional Institute of Ecoterrorism, and was featured in The Quietus’ New Weird Britain review. It has been broadcast on radio by the likes of NTS’ The Trilogy Tapes and Debonair, and BBC3’s Late Junction. She runs a monthly series of events in Glasgow called Events Research Programme  supporting weirdo/experimental/fun locals across performance and music. Han has released further records under the name BOOSTERHOOCH and published The Guts of It: a magazine for radical ideas on health care.

Yes Indeed are Laurie Tompkins & Otto Willberg. Live, they play keys, bouncy bass and sing over tactile, emotive samples. The music is fuggy and soaring, deliciously out of place. On 2021’s ‘Exorcise’ EP, they let ratty violin, syrupy bass and foolish voices congeal over a backbone of co(s)mic spinnet and pit percussion. Boomkat rightly dubbed it “proper mad scones”. ‘Rotten Luck’ – a sodden, diaristic epic and YI’s first album proper – is out in September 2022. Laurie is a composer, helps run the Slip label and has put out CDs on Entr’acte, 33-33 and Hyperdelia this year. Otto is a bassist, plays in groups with Ashley Paul & Charles Hayward and his great band Historically Fucked has an LP coming on Upset The Rhythm.