"Even when real dates take place, the wannabe lovers never get beyond ticking boxes, the fashion sense, body type and consumer choices, of their dates. You sense them longing to get back to the safety of their screens. That longing is beautifully intensified by the insistent tapping of computer keyboards in Andy Pink's score, and by Silvestrini's handling of space"
Judith Mackrell,The Guardian

"Andrew Pink, who has created the soundscore for Bird Song could doubtless spin and tweak an orchestra of irresistible glee out of Davies's own chuckles. As it is, he's spent months sourcing, adjusting, composing layers of sound. ''And silence,'' he tells me. ''Silence became part of the selection process and part of the work I was doing as well.''
Interview Glasgow Herald. See the full interview here

"There is a lot of text, beautifully detailed and sharply satirical and matched by peppy, rhythmic movement that ranges from headlong ensemble rushes to more intimate convolutions. Most of the choreography is underpined by emotion, so that even if someone gets manipulated or mauled, it’s done with a palpable sense of need and longing." LOL review Donald Hutera The Times.

"Composer Andy Pink embedded this natural sound in a music collage of competing and unrelated sounds (jackhammers and train brakes, among other industrial noises) that allowed Davies to respond to "sounds that would shock me in some form. I don't mean shock in an antagonistic way but drive me out of the normal." Janet anderson Philadelphia City paper

"Bird Song's choreography was firmly rooted in Andy Pink's captivating collage of conventional and electronic music built around the cry of the Australian pied butcher bird. The lightness and variety of the soundscape oblige the movement to change mood and tempo to match - a positively reactionary concept in some new dance circles." Louise Levene The Sunday Telegraph

"And, just as Andy Pink's effective synthesized score seems to have taken the bird's call as its starting point, so Davies's vibrant choreography seems to evolve as a dark fantasy on a loosely ornithological theme. Mark Monahan The Daily Telegraph"

"Around it, composer Andy Pink has constructed a highly disparate score (including many musical quotations, six modern sources plus a Bach canon being named) proceeding from initial fury to finally peaceful settlement". John Percival The Stage

"The ensemble's range of motion operates on multiple dynamic levels against a rich, varied aural landscape assembled by Andy Pink". Donald Hutera The Times

"During the whole of the opening section, Andy Pink's score fills the stage with waves of clashing, grinding noise. The sound is a deliberate assault on the dancers, who appear to be flung around by its force - catapulted into flailing, staggered lines, or dashed, twisting, to the floor. For the audience, seated on all four sides of the stage, the combination of driven energy and savage pattern making is overwhelming; it comes as a relief when Pink's music and David Ward's lighting begin to calm the frenzy." Judith Mackrell The Guardian

"Sound is central to this work, with more than a hundred different sound sources from classical to jazz and the latest digital samplings. At its heart is the song of the Australian Pied Butcher Bird, which is a series of notes it rearranges into different sequences of signalling and display. Rather than being birds, the dancers explore the shape of the sounds scored by Andy Pink." Gavin Roebuck The Stage

"In 30 minutes or so it managed, without a word being spoken, to engage thought and emotion at every level and feast the eyes and senses in rich imagery and sounds. Quite a feat". Peter D Cox review of 'Deep End'

"You feel as if you have witnessed a haunting. Although the vast Sicilian marble swimming pool is empty, it brims over with memories. Move along into "the second-class bath" and it is as if the whole building is crying out to protect its faded haughty grandeur, as nature invades and branches of trees insinuate themselves through walls. In half an hour it is all over, and as you are sent out again into the bustle of Soho's streets, you wonder if you imagined it" Lyn Gardner review of Deep End

"A performance about cafes presented in a genuine cafe immediately brings audiences into Morrison's world, just by taking a seat at a formica table under fluorescent lights. Recorded interviews with Turkish Cypriot cafe owners play as cooked breakfasts are served; the clatter of cutlery on china mingles with evocative stories of Anglicised nicknames, misspelt menus, the pressures of family business - "never work with your wife!" - and friction between ebullient Turkish diners and meek English regulars." Review of Leftovers by Hazel Tsoi-Wiles

"From the moment carnations were pinned to the audience on their entry it was clear that this was going to be no ordinary show. Led into the ornate surroundings of The Signet Library- all pillars and gold gilt- we were then ushered in front of a camera in groups of six, given an identity to pose with then requested to sit down at our allotted seats, apply our headsets then wait. Then the proceedings began." Review of Ringside by David Marren

"Humanity and tenderness, honesty and indeed universality all inform Ringside alongside one of the most stylish installations youll find anywhere on the Fringe". Mary Brenan The Herald