Ashleigh Hazel is a fractured mirror which reflects light from multiple angles, forming a disjointed yet oddly cohesive image. 

Ashleigh Hazel has a broad range of experience in the music industry, from being in a nearly nearly famous pop punk band, to writing music for international new music ensembles, to contributing to massive group improvising using household objects in a house conveniently reconfigured into a venue for an evening. They have always been fascinated by sound and its ability to reconfigure memory and recontextualise space. From an early age, they had a copy of a digital audio workstation installed on their family’s computer which they used to slowly teach themself to dissect and sequence audio. They completed a Bachelor of Music from the ANU School of Music in 2017 and an honors year at the Melbourne Conservatorium of Music in 2021. During their academic career they received several scholarships and awards.

They began producing music for other artists when living in a share house with the progenitor of outback emo and chaotic country legend, Jim Dusty. With both parties looking for someone to be on the other side of recording, they began working together on what would become Perpetual Customer, a blend of hi-fi, lo-fi, country, and electronics that spoke to the unique state of the music scene in Canberra at the time. Ash has since worked on a number of releases for artists including Blood by s.wells, Latest and Greatest Hits by Jim Dusty and a self-titled E.P. by Strawberry Prince.

As a composer, they are fascinated by all facets of sound and audio culture. Their work explores the presentation and reception of sound as much as it explores sound itself. They are interested in challenging traditional performance models and creating new ways of presenting music. In the past they have done this through interactive installations and site-specific performances including Modified Furniture (2017), Pieces for Cars Tunnel and Hexagonnal Vents (2016), Blankets (2019), and Knotts (2023). Sonically their practice explores acoustics, noise, and subversions of the expectations of pop music audiences and art itself. Their practice has recently expanded to include movement, projection, and costuming.

Their history of avant-garde composition and love of new and old sound technologies has allowed them to bring a huge variety of sound palettes to artists they work with. Through thinking of elements like genre and fidelity more as tools to get at the truth of a piece of music than something to bind the music through algorithmic distribution, Ash’s approach is focused on deeply understanding an artist's intention and songwriting in order to make technical choices that allow the music to be the best it can be.

They are also interested in gardening, fashion, and nature.