"imaginative...like, say, a Martian dance party"

— Vivien Schweitzer | The New York Times | April 17, 2007

"a vivid, driven score for electronics and drums"

— Allan Kozinn | The Wall Street Journal | January 20, 2015

"grip veered, vibrated and slithered about, shaking with instability yet ultimately smoothing over its conflicts."

— Richard S. Ginell | The Los Angeles Times | September 26, 2007

"distinguished by its energetic rhetoric"

— Stephen Smoliar | SF Classical Music Examiner | March 23, 2013

"...the story slowly dissolves, creating a pressing sense of expectation, keeping the listener hanging on a razor's edge thanks to the combination of multiple plots — almost imperceptible musical figures that operate in the shadow — and sharp contrasts in chiaroscuro, giving the musical texture a dynamic dimension."

("...il racconto si scioglie lentamente creando un incalzante sentimento d’attesa, tenendo l’ascoltatore sospeso sul filo di un rasoio grazie alla combinazione di più intrecci, figure musicali quasi impercettibili che operano nell'ombra e taglienti contrasti in chiaroscuro, in una dimensione di ampia dinamicità della trama musicale.")

— Paolo Tarsi | giornale della musica | June 30, 2014

"Carter explores the relationships between acoustic and electronic music, and a fascination with textures. The intriguing results include a lovely aqueous ostinato, over which muted trumpet and trombone linger."

— Bruce Hodges | Seen and Heard International | June 7, 2011

"Carter has a contemporary feel for interesting, driving textures and counterpoint."

— Rick Walters | Express Milwaukee | February 23, 2009

"The Composers, Inc. prize-winner was the night's most strikingly original piece...14 minutes of drama, madness, violence and harmonic instability by a string quartet. Carter marches to his own drummer."

— Paul Hertelendy | artssf.com | April 16, 2008

"the catchiest opening of the bunch"

— Elaine Guregian | The Akron Beacon Journal | May 12, 2007
Wikipedia page (in German)