“Tic Ashfield’s soundtrack makes a noticeable contribution to the play’s atmosphere, giving tense scenes more emotional depth and momentum” – IWA on the Hijinx Theatre production of ‘the_crash.test’.
“Tic Ashfield’s sound compositions succeed in highlighting the play’s ominous moments, reinforcing the shadowy undertones of the characters’ narratives” – Wales Arts Review on the NTW | Sherman | The Other Room online production of ‘Constellation Street’.
“Aptly for a play about people being treated like cogs in a machine, mechanical sounds feature heavily in Tic Ashfield’s score. This, coupled with Katy Morison’s flickering fluorescent lighting, evokes the sense of place that feels both remote and unwelcoming.” – The Stage on The Other Room’s production of ‘The Story’.
“Sound design by Mike Beer and music composed by John Hardy [Music] combine, cutting and overlapping to suggest wind-scoured, desolate landscape and peopled rooms.” – The Guardian on the NTW | Royal Court co-production of ‘On Bear Ridge’.
“Ashfield’s sound design and composition is heartstring-tuggingly crafted” – Cardiff Theatre Review on Chippy Lane’s production of ‘Blue’.
“Tic Ashfield’s electronic sound design, alternating between ambient underscore and aggressive dance beats, is darkly menacing throughout.” – British Theatre Guide on The Other Room’s production of ‘The Awkward Years’.
“Bulgo’s script is undeniably strong, with his writing able to effectively conjure up time and place – often difficult during a one person monologue. This is aided by the brilliant sound and lighting design (by Angharad Evans and Tic Ashfield respectively). Lights strobe and pulsate in a representation of Lily’s fracturing life, while Ashfield’s score is an evocative and swirling mix which underpins the emotion and tone of each scene without being overbearing.” – Whiplash Review on The Other Room’s production of ‘The Awkward Years’.
“Tic Ashfield’s discordant underscore provides intelligent, atmospheric support. A chase sequence through the carriages of a train is particularly impressive.” – Doctor Theatre on Lighthouse Theatre’s production of ‘Hard Times’.
“As the play hurtles towards it’s climax, Tic Ashfield’s haunting score helps generate the tension. With each twist and turn the music rises, each death bringing with it a cacophony of strings.” – The Stage on Omidaze’s production of ‘Romeo & Juliet’.
“Surely one of the loveliest soundtracks to grace a crime drama” – Radio Times on ‘Hinterland’.
“Technically, Henry VI is astonishing, not least in the discomforting harmony between Tic Ashfield’s Lynchian score and Elanor Higgins’ nightmarish lighting.” – The Stage on Omidaze’s Production of ‘Henry VI’.
“This chilling set is mirrored perfectly by a soundscape designed by Tic Ashfield; always there – uncomfortable and menacing – without interfering with or overpowering the text.” – The Public Reviews on Omidaze’s Production of ‘Richard III’.
“The use of music also created a great setting for the documentary. The vocals of the singers made it easy to visualise the scene of 19th Century women marching down busy streets fighting for what they believe in.” – Newport City Radio on Winding Snake Production’s ‘A Bird In A Cage’.
“The fifty-five minute score created by Tic Ashfield and Benjamin Talbott has a dense power of suggestion within it. There are the obvious sounds of scraping cello, choral voices, brooding bass and sonorous keyboard. But there are also intimations of the sounds and natural forces of Caradoc Evans’ Cardiganshire. The soundscape embodies wind and wave, the clatter of hooves and the bite of shovel on earth.” – Adam Somerset, Theatre Wales on Gwyn Emberton Dance’s contemporary dance work ‘My People’.
“A haunting soundtrack” – The Guardian. Praise for ‘Hinterland / Y Gwyll’.
“Streets ahead in terms of subtlety and sustained moodiness” – The Times. Praise for ‘Hinterland / Y Gwyll’.