Kerry Andrew is, all well a composer, a member of the eclectic vocal trio Juice, and her wide stylistic experiences and tastes, and intimate knowledge of the voice, are clearly evident in her music. Not that the 'York Mass' is self-consciously exhibitionistic: its intensity and structural balance derive from a carefully thought-out relationship between words and music. Technical challenges abound but they are always subordinated to the musical whole; in addition, there is a demonstrable love for lush harmonic writing that brings the work within the purview of a good many choirs that may not be constitutionally adventurous. Gramophone, 2010

The delivery is in the style of a beat poet lost in the renaissance period with no possessions and a distant memory of hearing Bjork’s ‘Medulla’... The depth of the imagery You Are Wolf conjures up is magical and macabre, it is a joy to get absorbed in the eerie storytelling... ‘Hunting Little Songs’ is totally compelling, an absolute gem for listeners feeling jaded and world weary, it will feel like an invigorating breath of fresh air THE EAR HORN on You Are Wolf, 2010

Inventive, creepy, gorgeous The Other Woman, Resonance FM, 2010 on You Are Wolf

I'm so excited about this EP...I haven't heard anything like this in a long, long time BBC 6Music, 2010, on You Are Wolf

Kyrie, Gloria, Sanctus and Agnus Dei are set using 
wide-ranging vocal techniques - the sound worlds are certainly more Berio than Howells, but the music, however creative, is always the servant of the words. [A] ... powerful and expressive Mass The Royal School of Church Music on 'York Mass'.

Premiere recordings of major works by Kerry Andrew and Philip Moore make the Ebor Singers’ disc especially rewarding. Andrew’s highly assured York Mass' ... general mood is sombre but with surprising bursts of emotion, especially in the Sanctus.

Yorkshire Evening Press, Jan 2010 on 'York Mass', released on Boreas Music.

Kerry Andrew, the contralto, makes a rock-steady bass for the Trio, with wonderful clear diction and a vivid personality. She's the foundation of the group in more than one sense.

The Telegraph on juice at Queen's College, Cambridge, 2009

avant-garde vocal techniques - patter, huffing, puffing, beatboxing - that make Stockhausen or Berio sound prehistoric.

The Times, 2009 on juice at the Wigmore Hall, which included Kerry's 'huffing, puffing' piece luna-cy.

Stunning.

Anne-Marie Minhall, Classic FM's The Full Works, 2008

Kerry Andrew's setting of 'Drop, Drop, Slow Tears' is a wonderful demonstration of how to create an easy, modern, and immensely powerful setting of a classic text.

Music Teacher on Kerry's inclusion in the Oxford Book of Flexible Anthems, March 2008

Brilliant, Berio-esque vocal effects...

The Times on 'luna-cy' at the Park Lane Group series, Purcell Room, January 2008

. . . the closing Gloria, beautifully spare and hushed, contrasts marvellously with the rich aleatoric nimbus around the clamactic word "lumen".

Choir & Organ on 'o lux beata trinitas' , January 2008

Kerry Andrew's refreshing and inventive setting centres on the exploration of texture, colour, light and atmosphere . . . the sort of engaging performance technique that students are bound to find involving and exciting.

Music Teacher on 'o lux beata trinitas', December 2007

Not every young composer has the opportunity to have their music performed alongside an established older generation (Ivan Moody and James McMillan) and survive the experience. Kerry Andrew emerges unscathed. In 'Dusk Songs', influenced by world music and non-Western vocal techniques, she is able to create a meditative mood for the ending of the day. Andrew's flowing vocal lines and her deep feeling for text presage the emergence of a considerable talent.
Choir and Organ, November 2007

Beautifully tailored to voices.

Yorkshire Evening Press on 'Dusk Songs' released on Boreas Music, July 2007

Kerry Andrew's talent is ... clearly evidenced throughout Hevene Quene, a setting of the 13th-century poem that mixes plainsong elements with a sprightly and vivid sense of each line of text.
The Singer, October 2006

Kerry Andrew's 'fruit songs' ...treat the voice as a circus acrobat treats a trapeze.

North Shore Times, Sydney, July 2006

It is an almost insane concatenation of every single way possible for the larynx to produce sound...this Londoner did it with aplomb.

Opera-Opera magazine, Australia, June 2006

The decision of Kerry Andrew, curator for the night, to opt for more acts was vindicated by the remarkable diversity and surprising unity of the overall show.

spnm, March 2007 on Gobsmack at the Spitz.

Hevene Quene by Kerry Andrew, given its U.S. premiere (here), made the hair stand up on the back of your neck... The intervals that Andrew explores, while often dissonant, are ravishing. But the alto solo rendition of the refrain ... is pure genius. It is utterly strange, hauntingly beautiful, and once heard, quite inevitable... The setting ends with ... layer upon layer of a chord that can only be called heavenly.

Maine Sunday Telegram and Portland Press Herald, Dec 2005

'In her choral writing Kerry Andrew strips away the extraneous to get to the heart. You will undoubtedly hear more of Kerry Andrew. Watch this space.
Choir & Organ, March/April 2005

winkblink reminds me of the vocal experiments of Cathy Berberian and Joan LaBarbara. I like it very much.

Mark Russell, Mixing It, BBC Radio 3, April 2005

Kerry Andrew's fruit songs...were playful, punning and admirably concise—not unlike a musical equivalent of the visual puns of the poetry of e.e. cummings.
Sydney Morning Herald, Sept 2003