"'Fray' from Fjóla Evans uncurled single-tone string lines as warnings: the piece ballooned into a true aural fray, and the seven instrumentalists blew, struck, and bowed ferociously at the work’s midpoint. Before fraying into silence, Daniel Linden’s round trombone tones drooped downward in mournful spurts and the warm legato tones of Sarah Goldfeather’s violin offered quiet empathy." - Lana Norris, I CARE IF YOU LISTEN, review of Exceptet concert (June 2015)

"The subtly evocative composition (Shoaling) hints at a more symphonic soundworld, with its entrancing harmonic textures, percussively rumbling timbres, and slow, stretching tempos." - Daniel J. Kushner, I CARE IF YOU LISTEN Magazine interview with Bearthoven (May 2015)

"The first performer, Fjóla Evans, an Icelandic-Canadian cellist, quietly and expertly drew out long and mournful pieces with her bow while a black and white wedding scene involving a person wearing a stag’s head played in the background—a disturbing, yet calming combination of image and sound." - Pepper and Vine, review of solo cello and electronics set at Cluster New Music + Integrated Arts Festival, (April 2015)

"The concert opened on an auspicious note with the trio Bearthoven ... slowly and meticulously swaying their way through the stygian whispers and then horror-stricken swells of Evans’ Shoaling, an illustration of long wave motion. Pianist Karl Larson, percussionist Matt Evans and bassist Pat Swoboda established a murky, minimalist ambience that grew and grew until those waves were about to dash the theme on a jagged, rocky shore. It couldn’t have ended more perfectly, as the wail of an ambulance echoed down Kingsland Avenue outside. Starkly ambitious and genuinely profound, it instantly put Evans on the map as someone to keep an eye on." - Lucid Culture, (May 2014)

"Time ticks by. In the background, Fjola Evans saws mournfully away on a cello that’s electronically amplified," - The New York Times, (January 2014)