On 'Dis Un Il Im Ir', [Bryan Jacobs' solo album] for example, the Ensemble Pamplemousse play flute, piano and keyboard with tremendous verve and attack, the tinkling high-register keys pumping out the sort of urgent pulse that brings ambulances running at high speed. The flute squeals like an insane, barking bird who can't find his way out of his own birdcage. Live electronics are interacting with these frantic five minutes to further the sense of mayhem. It feels unstoppable, yet you've rarely heard such clarity; each note stands out as sharp and impressive as a girder jutting out from a skyscraper.
Ed Pinsent, The Sound Projector, 2015

Hearing this New York composers' collective perform its own works this summer brought its experimental aesthetic to life for me—in its music, the absurd dances with the sublime, and playfulness collides with rigor.
Peter Margasek, Chicago Reader, 2014

…one of the most distinctive new music ensembles in New York…the players are sharp listeners, quick thinkers and make creative use of the full gamut of sounds from their instruments."
George Grella, New Music Daily, 2013

Silence is an important ingredient of most [of their] compositions, but also detailed complexity, short runs of hyper action, and also– not to forget – a sense of humor. The playing is virtuoso and inspired. All together fantastic playful modern chamber music full of magic and wit.
Dolf Mulder,Vital Weekly, 2012

 ...gasps and rasps [in Andrew Greenwald's On Structure] are sequenced and spaced with great finesse. Gottfried's Nest is ... colourful proof that post-Lachenmann "extended techniques" can be as accessible and enjoyable as playing it straight. Diels's Symbiosis explores similar territory, but is a sparser, more jittery affair....Broome's Effective Temperature: from the Herzsprung-Russell Project...is, despite the presumably forbidding maths that went into its construction, a more melodic and linear affair, unravelling clusters into Ligeti-like (at times) micro-ostinati. Violinist Enomoto really has a ball on Greenwald's Sofrut, scrunching and skittering her way through what sounds like a ferociously difficult tussle with Diels's piccolo, a terse, thorny dialogue punctuated by occasional taps on an adjacent snare drum. Thankfully, things finally quieten down with Jessie Marino's closing Gnomon, based on a limited number of pitches played by three music boxes, which are picked up and picked apart by violin, melodica and bass flute. To quote those liners again, it's juicy and sweet and tender and tart, and another great outing on the ever-impressive Carrier label.
Dan Warburton, Paris Transatlantic, 2012