"Cheung’s uses of passing silences—the line breaks themselves—are exquisitely effective in carving out and throwing into high relief units of musical meaning… Other works on the CD bring to mind a kind of updated Impressionism where color carries as much meaning as melody, harmony or dynamics. The three-movement Centripedalocity (2008) for seven instruments, for example, combines the timbres of chamber ensemble with jazz alto saxophone all while casting sideways glances at Debussy and Thelonious Monk; SynchroniCities (2012) uses the astringent colors of electronics and microtones to construct a paradoxically consonant clash of media and pitches. Here and elsewhere Cheung’s timbres and dynamics are often exhilarating and at many points seem to take the fractured surfaces of High Modernism and charge them with a direct, emotional urgency.”
Daniel Barbiero, Avant Music News