"Smart, compelling and fascinating music that gives strong hints of a punk-band past.…a chaotic collision of exuberant populist style with a bluesy edge and infectious punch. … Sixth Species offers a bracing sampler from an engaging, greatly gifted composer I hope to hear more from."

—      Lawrence A. Johnson, Gramophone Magazine. (review of Lansing's CD Sixth Species in the annual Awards Issue)

"Lansing McLoskey composes music that is keenly heard and deeply felt. His music reveals a remarkable sensitivity…resulting in works of emotional intensity. Avoiding any allegiance to “isms” he has developed a unique musical voice which is clear and distinctive."
– The American Academy of Arts and Letters, on the occasion of his receiving the Goddard Lieberson Fellowship.

"Lansing McLoskey’s is a distinctive voice in present day American music.  This CD offers a fascinating cross-section of his vocal and instrumental chamber music and bears witness to McLoskey’s sharp ear for instrumental sonorities."
– Carlos María Solare, The Journal of the American Viola Society.

"Now and again some contemporary vocal works come along that create story and meaning well, yet by so doing they synthesize a contemporary state-of-the-art view of where the Progressive Modern world has come so far. …This music is edgy yet markedly tonal, Modern in a synthetic way, with a kind of sum-uppance, creating powerful musical mood with a sure hand. … In the repeating hearing of Zealot Canticles, An Oratorio for Tolerance we can recognize how fully McLoskey has unveiled for us the remarkable expressivity that the later Modern stance has put together, and which comes to fruition so tellingly here. We experience how powerful and moving it can be. … It is a work of extraordinary beauty, filled with knowing worldliness and inner certainty. Outstanding."
– Gapplegate Classical-Modern Music Review.

"These verses are unquestionably among the most heart-wrenching and unsettling texts ever used as the basis of a piece of choral music. Their explication of humanity’s inhumanity and their crying out for “never again” rank high in the annals of poetic responses to numerous 20th century atrocities. McLoskey’s success in setting them in a manner both true to their inherent horror and efficacious in the music’s ability to communicate that horror marks the score as a major triumph. Donald Nally and The Crossing, along with five instrumentalists, to effectively navigate their way through the music’s thicket of daunting dissonances, extended ranges, startling dynamics and evocative timbres is singular even in the rarefied world of choirs dedicated to contemporary music. ... The Crossing sang so stunningly and movingly that one went away from the concert convinced that each and every one of us has an integral role to play in protecting the rights of each and every other one of us." 
– Michael Caruso, Chestnut Hill Independent.

"The world needs this piece..." (writing about Zealot Canticles)
– David Patrick Stearns, The Philadelphia Inquirer.

"Lansing McLoskey’s Specific Gravity: 2.72 followed and contained some of the most successful moments of the evening. Commissioned for newEar’s twentieth season, McLoskey found inspiration in emeralds (the 20th anniversary stone) and the soggetto cavato process of implanting names into musical form, in this instance the pitches of "newEar" became the germ of the piece. Luckily the two gelled into a magnificent work, especially the second movement, "November Graveyard." This movement was graceful with lush harmonies and an overall quietude of reflection. His use of metallic percussion instruments in this movement created subtle palettes for the winds and strings to float upon..."
– Lee Harman, KC Metropolis.

"McLoskey’s musical interests have evolved from being a guitarist and songwriter for punk rock bands to a composer of some of the most unique and engaging contemporary music written today. … Upon hearing [his work] saxophonists will probably be awaiting future compositions from this fine composer."    
– Benjamin Faris. The Saxophone Symposium.

"McLoskey's Prex Penitentialis is an evocative and inspired work that does a great job of connecting the centuries old script with today's troubled psyche. It is a modern work which resonates with the listener and doesn't attempt to alienate the audience. It achieves this by simply reaching into the meaning behind the words in the text, and emphasizing it's intent through powerful and emotive music. A rare skill that Lansing McLoskey has obviously mastered.”
–Jean-Yves Duperron, Classical Music Sentinal.

  “…one of the most exceptional and inspiring concerts I have ever attended…. [McLoskey’s blur] inspired me to be more critical when thinking about musical sonority, form and thematic development in the future."
– Elizabeth Perten, Boston Musical Intelligencer.

"...this is real music, with rhythm, melody, harmony, and form, which the listener can perceive, but definitely is from the twentieth century." 
– Thomas Hall, Journal of the American Viola Society

"A major talent ... and a deep thinker with a great ear. ... His Requiem, ver.2.001x is distinctive, fascinating, and compelling."
– American Composers Orchestra press release

"The other standout on the program, McLoskey's Requiem...[is] a beautiful piece, one that conveys both ethereal solemnity and wrathful reckoning." 
– Michael Manning, The Boston Globe

"But in fact the heart of the concert, for this listener, was an unassuming piece [Rosetta stone] by Lansing D. McLoskey - the "D" standing perhaps for dense, demanding, daring. ... The opening was an explosively metric movement of terrifying complexity and jagged irregularity.  Balancing it was a second movement of rounded, mantralike piano clusters interspersed with lyrical lines in the treble instruments.  McLoskey... created a magical sonority throughout this mysterious but thought-provoking piece."
–Paul Horsley, The Kansas City Star

"Moraine...immediately grabs hold of the listener's attention with as commanding a statement by the orchestra as found in any other work.  With textures that vary from single-voiced solos to a harmony heavy with polytonality, the composer reveals here the talent that helped him win the prize."
– Marcus Kalipolites, The Times Herald Record

"Drawing on Black Flag, the Beatles and Bauhaus for inspiration, McLoskey writes experimental new classical music for solo instruments, chamber and orchestra.  Pieces are extremely rhythmic at times, loose and ghostly at others, marked by considerable control over instrumental range, combination and dynamics.  Countermelodies run in different directions and keys, remaining listenable and exciting despite dissonant piano jabs and extreme tension. It's no wonder this young artist is winning awards and grants -- he's drawing on modern masters, injecting Punk's energy, and finding new ways to convey emotion without disassociating himself with his audience."
– Jesse Terry, Listen.com

"...one of the best composers of [his] generation."
– Frank LaRocca, Composers Inc.

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