“Among the most savvy of younger British composers”

Gramophone

“The most arresting English song-cycle for years”

Gramophone

“Cutler may not make contemporary music loveable again, but he does make it unignorable and that is what really matters”

Gramophone

“The world’s most inventive composer”

Nova, Lyric FM

“Behind their jokey references and diverse cultural allusions lurks beautifully crafted music of great energy and creative imagination”

The Guardian

“The best thing to come out of Neasden since Twiggy?”

Gramophone

“Suffused with an infectious joy in sound”

The Journal of Music

“This lively British composer writes jumbled, sometimes crazy pieces produced by hurling many kinds of music into the pot and giving them a quizzical stir”

The Times ★★★★

“Music of quirky dancing energy and humour mingled with mystery … delightfully unpredictable”

The Telegraph ★★★★

“For those yet to hear the earlier discs, ‘Elsewhereness’ proves a no less enticing entry into his inimitable sound world.”

Gramophone

“Splendid sound. Energetic, brilliant music.”

BBC Radio 3 Record Review

“Elsewhereness is full of brilliantly achieved flamboyance”

Classical Music Magazine ★★★★★

“Cutler has an exciting voice of kaleidoscopic vocabulary”

Classical Music Magazine ★★★★★

“The music’s fluidity of style and shifting identities never become wearing: one of Cutler’s strengths is his timing, both comedic and musical”

The Arts Desk

“Eclectic, decidedly here-and-now music … laugh-out-loud funny”

Fanfare

“Cutler pulled if off brilliantly with a piece entitled Elsewhereness, which meditated on the changing cityscape of Birmingham. That sounds a serious topic, but Cutler has always had a gift for evoking serious things with a light touch. This one danced entrancingly on the spot, the strings and woodwind created a shimmering haze around an obstreperous rhythmic pulse that teased us by being almost regular but not quite. Round and round came the dance, each time intriguingly rescored, like an object seen from a different angle. Perhaps this was to symbolise the way the cityscape is constantly changing while always being more-or-less the same; perhaps the amusing ending where the piece collapsed into cobwebby sounds was an evocation of the way bits of modern cities decay entirely and go back to nature. But in the end, it was the intriguing musical argument that seized the attention.”

The Telegraph