Praised as “fierce, fearless, and virtuosic… unapologetically stylistically omnivorous and versatile” (New Music Box) and “trailblazing…skillful composer-performers” (The New Yorker), The Rhythm Method strives to reimagine the string quartet in a contemporary, feminist context. The four performer-composers of The Rhythm Method continually expand their sonic and expressive palette through the use of improvisation, vocalization, graphic notation, songwriting, and theater.  

The Rhythm Method has given performances at Roulette, Joe’s Pub, The Stone, the Met Museum, the Morris Museum, and the Noguchi Museum, and has been featured at the Lucerne Festival Forward, on the String Orchestra of Brooklyn’s String Theories Festival, MATA Festival, Music Mondays, TriBeCa New Music, and the Austrian Cultural Forum’s Moving Sounds Festival. The quartet tours regularly both in the US and abroad, and has performed internationally in France, Austria, and Switzerland. The Rhythm Method seeks to nurture ongoing relationships with universities and schools, cultivating multifaceted creativity and musicianship in students of all ages. They have been in residence at Tulane University, Arkansas State University, Zurich University for Art and Music, Hunter College, Bowling Green State University’s College of Musical Arts, and New York University, and they serve as the quartet-in-residence for Lake George Music Festival’s Composers Institute.

Carrie Frey is a Brooklyn-based violist, improviser, and composer who “conjures an inviting warmth that leaves her virtuosity on the margins, placing the focus on her humanity (Bandcamp Daily).” Frey is the violist of the Rhythm Method (“a group of individuals with distinct compositional voices and a collective vision for the future of the string quartet” – I Care If You Listen) and a founding member of string trio Chartreuse and string quartet Desdemona. She has performed with many of New York City’s notable contemporary ensembles, including Wet Ink Large Ensemble, AMOC*, Talea Ensemble, Wavefield, Cantata Profana, and the International Contemporary Ensemble. Her own compositions, described as “an agonizingly beautiful meditation on the Romantic style” (I Care if You Listen), have been performed by the Rhythm Method, RE:duo, Arco Belo, Adrianne Munden-Dixon, and Kal Sugatski. Following on her debut sonata album, The Grey Light of Day, with pianist Robert Fleitz (2016), and her first solo album, Seagrass (2023), Frey’s first portrait album, Seaglass, features The Rhythm Method in performances of her four string quartets to date, and will be released on Gold Bolus in October 2025.

Adrianne Munden-Dixon is a violinist, improviser, and composer known for her “shapeshifting technical facility” (I Care If You Listen). Her work often explores the interaction of timbre, texture, and energy with a combination of playfulness and “white-knuckle energy” (Bandcamp Daily). She has given solo performances at Roulette Intermedium, the Dimenna Center, Princeton University and presented her music at the Darmstadt Summer Course and University of Georgia.  She is a founding member of Desdemona and has recently worked with the JACK Quartet, Cassie Wieland, Leo Chang, David Bird, and filmmaker-pianist XUAN. Originally from Savannah, Georgia, she currently resides and is active in the Montreal and New York experimental scenes.