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Laurence Vittes
Gramophone, October 2016

The most spectacularly audacious is Evan Hause’s ingenious re-orchestration entirely for acoustic instruments of Edgard Varèse’s iconic Poème électronique, which works so naturally that it becomes essentially a new piece. The most simply audacious is Matt Marks’s arrangement of ‘Revolution 9’, which turns The Beatles’ raucous, sly descent into musical chaos—which, reflectively, looks like a descent into the social chaos that killed John Lennon—into a surreally elegant rethink rising to occasional Wagnerian heights and ending in incongruously collegiate cheers of ‘Block that kick! And hold that line!’ © 2016 Gramophone Read complete review on Gramophone

Jed Distler, June 2016

…Evan Hause’s acoustic instrumental realization of Edgard Varèse’s Poème electronique conveys a timbral warmth, harmonic richness, and a sense of forward motion that the Varèse original lacks. © 2016 Read complete review

Geoffrey Larson
Second Inversion, May 2016

…these composers and this ensemble are able to take modernism, with its strange, confusing soundscape, and make it personable and relatable. This kind of music is probably not something you want in your life every day; but when you need it, it’s there, and it’s an amazingly good time. © 2016 Second Inversion Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, May 2016

…conductor Alan Pierson and the Alarm Will Sound ensemble sound very well as a totality throughout, giving us performances that do justice to the complexities and intricacies of these works. They remind us in the process of their premiere new music chamber status, as one of the very best. © 2016 Gapplegate Classical-Modern Music Review Read complete review

WQXR (New York), May 2016

Alarm Will Sound pianist John Orfe’s Journeyman is appropriately titled; at four and a half minutes long and the easiest listen on the album, there is definitely room for it to grow.

Augusta Read Thomas’s Final Soliloquies of the Interior Paramour sinks in deepest; exaggerated laughter and shouts mix with spoken words and languorously chromatic voices in harmony. Color and texture morph in the time it takes to blink. The impression is that of the border between the earthly and celestial, between dreams and reality. © 2016 WQXR (New York) Read complete review

Seth Colter Walls
Pitchfork, May 2016

The arrangement on Modernists was devised by the composer and Alarm member Matt Marks, and it’s clear he’s fully sorted out all the sonic layers of the piece. Using nothing but acoustic instruments, the arranger has notated an impressive range of gestures present on the original. And the group’s performance here is stunning—particularly when Alarm’s woodwind and string sections play a few opening licks in a way that successfully calls to mind some of the backward-masking effects of Lennon’s tape loops.

…overall, Modernists makes for a strong show, mounted on behalf of a wing of classical music that isn’t always represented at your local chamber music hall. © 2016 Pitchfork Read complete review

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