“Remarkable” “A strange, gripping experience”—Paul Kilbey on Alice Purton and Martino Panizza’s performance of ‘hush’ and Apartment House’s performance of ‘close’, Bachtrack

“a kind of shuddering, dry, crystalline music...satisfyingly powerful.”—Luke Nickel on Gwen Rouger’s performance of ‘collector’ at SPOR (Denmark), TEMPO journal 

“Meditative and introverted…a collective experiment in listening”—Trevor Bača on Max Murray’s performance of ‘category’, The Boston Musical Intelligencer

“[His music] is not only interested in finding the breaking point or the limit but is also intrigued and attracted by what lies on the other side”—Tim Rutherford-Johnson in his book ‘Music After the Fall

“[The piece] directs its performers into a conducted sociality marked by phantom-like breathed, muffled and whispered sounds and silences. Sdraulig's comes closest out of all of these pieces to Dunn's notion of the "organisation of perception", where performer becomes listener and listener becomes performer and music, as a result, becomes not-itself”—Stephen Graham on Apartment House’s performance of ‘close’, the Quietus

“one of the strongest compositions of either night. In a way that is hard to describe, the piece has some kind of poetic truth that nails part of the experience of a living thing trying to stay alive.”—Steven Pisano on Adam Tendler’s performance of ‘collector’ at MATA (NYC), Feast of Music


Shockley, A. F. (2018). The contemporary piano: A performer and composer's guide to techniques and resources. Lanham: Rowman & Littlefield.

Rutherford-Johnson, T. (2017). Music after the fall: Modern composition and culture since 1989. Oakland, California: University of California Press.

Gottschalk, J. (2016). Experimental music since 1970. New York, NY; London: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc.

Rutherford-Johnson, T. (2012). ‘The Contemporary Notation Project’.