“A fascinating hybrid weave of surprising sounds and fluid borders… can only be described in terms of its arresting atmospherics. Calming, alluring and sophisticated all at once” – NPR (First Listen)

“The show's most powerful element is sound designer and composer Adam Cuthbert's richly textured musical score, which provides a thrilling soundscape that alternately energizes, engulfs, and steers the overall proceedings." – BACKSTAGE

"I have hardly ever heard examples where the two different counterparts merge together so very well. This is not ‘acoustic’ plus ‘electronic’ – it is both together forming a new, unified, sound." – AMBIENTBLOG

"BLOC is... the lead-footed revving of double decker buses, the whine of deliveroo scooters, the roar of street cleaning trucks. A love affair with harsh reflective soundscapes. An IDM techno fest of the scraping of your soul." ACID TED

“Saul Steinberg's famous New Yorker cover showing a supposed void between America's coasts should be redrawn with a giant neon sign pointing to Allendale, MI” – AN EARFUL

"Much of the music recalls Vangelis’ airy, ethereal soundtrack to Ridley Scott’s brilliant film Blade Runner... It breaks down the boundaries of time to create something that respects the past while wholly residing in the present and even future."  THE BIG TAKEOVER

"ravishing in its smooth sonic beauty... his music speaks for itself and has no need of any elucidation by biography" – MUSICURATUM

"A similar taste for frenzied repetition helped shape Adam Cuthbért's “Universe Explosion,” a musical sketch of all of cosmological history compressed into 10 minutes... it was hard to resist the vigor and inventiveness of his writing for two string quartets"SF CHRONICLE

"sometimes spare and sometimes brutal... gives Trent Reznor a run for his money."  – AN EARFUL 

"They draw power from their grounding and move freely within Cuthbért's thicket of music. The sonic and physical energies are tremendous." – INFINITE BODY

“Ms. Donohue responded in movement while the composer Adam Cuthbert attended to two tables of electronic equipment, building a layered, thrumming soundscape. All three wore silver-and-red athletic gear.” – THE NEW YORK TIMES

"deeply calming, and evoked a pulsating orb repeatedly expanding and contracting"SF CLASSICAL VOICE 

"a remarkable work... perfectly integrated with the electronics and fully exploiting a combined sonic palette that convincingly captures its monumental subject matter." – NEW CLASSIC LA

"a full-scale spectralist assault is launched in the processed spectra of the baritone sax and flute sounds in location sharing." – ICAREIFYOULISTEN

"'Location sharing' d'Adam Cuthbert est une composition intrigante, mellifluante sur un socle rythmique massif, très Reichien, avec des envolées graves piquetées de griffures, des boursouflures proliférantes, comme de laitues sonores monstrueuses.." INACTUELLES (Fr.)

“Trumpeter Samuel Wells was featured on three of the evening’s works… of these, Cuthbert’s [rikai] was the most successful… his layering became masterful as the piece gained steam. there were times of almost Mikel Rouse-ian pop melodies at the piece’s glorious conclusion.” KC METROPOLIS

"This concert ended with three [In C] remixes arranged [by Adam Cuthbert] to involve live performers, yielding a kaleidoscopic refraction of this landmark minimalist work, from the hypnotic crescendo of Zoe Keating's "Zinc" to the childlike clowning of Jad Abumrad's "Counting in C." THE WASHINGTON POST

"I like Adam Cuthbert's arrangement." – ZOË KEATING