"The record’s heart is its title piece [Dreamfall], which was written by Dancigers and is divided into three movements. The first movement glitters with tiny cells that pulse and shift. The breathy growl of Budde’s clarinet seems to nudge on the lush lyricism of Mizrahi’s piano. Cole’s bass moves between a pizzicato heartbeat to gorgeous arco work that feeds and enriches everything else like a heart pumping blood to the rest of the body. The flute carries most of the melody with a tear in its throat...There’s some pain in its seduction and the worry that mystery implies. The finale amplifies both the tense melancholy of the middle section, but also delivers on the warm promise of the opening. As the melodic material introduced earlier coalesces and resolves, there’s a warmth that flows over everything like a golden light, led by Mizrahi’s piano lines shaded by Sopp’s flute, with bursts of group-playing toward the end activating and engaging the senses. The introduced chaos that rushes in at the track’s conclusion doesn’t rely on false drama; it’s a wake-up call, but it doesn’t lose that warmth. The breathtaking conclusion of this multi-headed beast manages to sum up the preceding 20 minutes without betraying the ambiguity at the dark heart of its beauty."
Richard Sanford, The Agit Reader, June 10, 2015

"'Dreamfall’s' harmonies are tonal and the sounds from the instruments mostly conventional but always used with masterful imagination and delicate balance..."
-Don Clark, I Care if You Listen, September 2015

"The penultimate “Everness”, featuring Mark Dancigers of the NOW Ensemble, awes with its descending figures that leap across a tense staccato surface, before a stretching thread of violin joins it to a more winding second half."
PopMatters, November 2014

"The title track by Mark Dancigers stands out. In the first movement, graceful arpeggios and poignant sustained tones build from wisps into an imaginative, dense fabric. A reverent chorale and barreling waves of low glissandi add gravitas as the melody grows fraught and searching until breaking into light, high descending patterns.
The transition has the surprising loveliness of an out-of-season snowfall, and it contrastingly leads into an intense second movement." -Ronni Reich, NJ Star Ledger, June 8 2012

"Powerfully pianistic...It's always refreshing to hear a pianistic moment like this, a reminder that, despite the fact that the instrument can and has been used for just about everything, there are still composers who can summon forth that old 1895-y full-bloodedness and pull it off."-Will Robin, Seated Ovation, May 29 2012

"I, too, am taken with Michael Mizrahi's "Bright Motion" album, and especially with the title work by Mark Dancigers."
Alex Ross, The Rest is Noise, May 24, 2012

"[Michael Mizrahi's album The Bright Motion's] loveliest moments emerge during the title piece, especially the twelve-minute first part, which Dancigers composed specifically for the album in 2011. Stately trills repeat operatically throughout, creating wave-like effects whose lulling motions impart a dream-like, incantatory feeling to the material—bright motion, indeed. The delicate ending is especially beautiful.."-Textura, May 2012

"Mark Dancigers, the Now Ensemble’s guitarist, contributed “Cloudbank” (2006), a blend of attractive thematic bursts that mixes post-tonal modernism and jazz-tinged woodwind lines, and grows gradually more expansive." -Allan Kozinn, The New York Times, March 2012

"Flutist Nathalie Joachim soared, her playing building like a mind-blowing guitar solo, passionately bringing the piece to a climax before falling back into the opening sound...Cloudbank was hopeful, impressionistic, and playful."-Consequence of Sound, March 2012

"Completing the eclectic program is Mark Dancigers’ Burst...There’s an obvious challenge in the music’s mix of old, new and the exotic, and one that is rewarded by repeated listening as its interweaving of superficially contrary elements coalesce into something fresh and vibrant." -Michael Quinn, The Classical Review

“Entrancing…the composer describes the work as evoking a scene of standing on a mountainside during a snowfall. If you did not know this, though, you might still have been beguiled by the transparent scoring, the squiggling Morton Feldman-like string figurations that run through the piece, and the high-pitched sustained tones and rustling riffs that eventually collide into tremulous lyrical lines.” -Anthony Tommasini, The New York Times

“A crystalline shimmer of notes that flickered among the players gradually broadened into longer phrases in Mark Dancigers’ “Thaw.” The piece was rich in beguiling timbres; one especially memorable passage paired Ms. Muhly’s [the cellist’s] spiccato bounces with twinkling crotales” -Steve Smith, The New York Times

“The concert’s premiere, Dancigers’ The Bright Motion, hailed from Debussy’s sound world, but progressed in a minimalist spirit, with long, luxurious ideas (rather than punchy ostinatos) reiterated with modifications more felt than heard.” –David Patrick Stearns, The Philadelphia Inquirer

" of indie-classical's top shredders." -Seth Colter Walls, The Awl, 2010

"The guitarist Mark Dancigers presented three of his “Electric Guitar Études,” in which the finger-tapping techniques and digital effects of heavy metal were codified and structured into attractive miniatures." -Steve Smith, The New York Times

“Dancigers…plays the electric guitar with quite some finesse.” -Gayle Williams, The Sarasota Herald/Tribune

“…when Mr. Dancigers…piloted a dive-bombing guitar solo into a plush thicket of horns — the results were irresistible.” -Steve Smith, The New York Times

"NOW [Ensemble]... imports a catchy inflection to classical forms... Striking a balance between the old and the new has rarely sounded this good." - Seth Colter Walls, Newsweek