“Singing with Audrey is like working with all the possible noises of the universe and beyond, earthquakes, colliding galaxies and slugs sliding down a wet window, very quiet.”
— Phil Minton, Minton at 80, The Wire Magazine December 2020
“Audrey Chen has created an uncompromising and idiosyncratic music, tightly disciplined yet acoustically wild and heavy with implication. Her ultra-verbal vocalising, often reminiscent of the visceral and emotionally charged sound poetry of François Dufréne or Henri Chopin, exposes physiological aspects of utterance that are concealed within standardised articulation and day to day speech. Fleshy, breath-driven and flecked with spittle, Chen’s voice emanates not just from her mouth but from an ensemble of upper body surfaces, channels, passages, and cavities.”
— - Julien Cowley THE WIRE
“The artistry of extended vocalise can be a tricky scale to balance. No matter how much you might like it (or not), there is always a risk of it coming off like an infant entertaining itself. Devices have mechanics, and one has to learn how the switches and gears work. Vocal sounds and vocal “noise” can be a lot of things, but at base level, it can be just that. I therefore don’t have a method for adjudicating such gargles and utterances, so there’s no good way to defend my belief that Audrey Chen is a master of the form.”