The Age 28 August 2007
“…the knock-out success of Natasha Anderson… (she) has simply developed a way of working with electronics that maximises her abilities as an acoustic musician with a theatrical bent, one with an interest in questions of gendered representation and self-representation…Anderson’s quick slaps to the recorder in activating sensors were precise to the point of controlled violence…a riveting 15 minutes”
Penny Webb

RealTime October 2007
“While Natasha Anderson on contrabass and garklein recorders with electronics might appear to be out of place in this industrial gothic line-up, her deft use of dynamics, texturing and attack gave her performance an intriguing brutality juxtaposed with fragility making her one of the most satisfying acts (conceptually and sonically) of the festival”
Gail Priest

Cyclic Defrost July 2006
"...Their performance on the night was jaw dropping. With Stewart using her voice and Anderson on her amazing contrabass recorder and electronics, it began quite frenzied, exploding into a series of spasmodic squeaks and vocal growls squawks and flourishes. As they continued they went from two separate entities, into one unique organism, as, without utilising any perceptible rhythm, they began finishing each others sentences and morphing sonically together to the point where you couldn't tell where one ended and the other began. It felt like we were watching some kind of high pitched chemical reaction."
Bob Baker Fish

RealTime April 2006
"Natasha Anderson on electronics and recorders (as in the wind instrument) and vocalist Amanda Stewart allowed silence to be an integral part of their performance. An extroardinary range of sounds sporadically emerged and receded: whistles, breaths, kisses, twittering, chattering. It was often truly startling, with both performers demonstrating extraordinary control over dynamics and timing. They weren’t so much responding to each other as operating as one volatile unit. At times I was reminded of Luciano Berio and Cathy Berberian’s electroacoustic composition Visage, but with the operatics replaced by a 21st century microscopic sensibility."
Shannon O'Neil

RealTime October 2007
"In Maculae, Natasha Anderson’s gestures are more theatrical and considered. The sensors she's attached to an impressive contrabass recorder allow her to trigger sounds from her playing as well as to add gestural input alongside vocal croaks and clicks. To one side small details from “self-portraits” and the interior of a room are screened, fading in and out and also triggered by her interaction with her instrument. In contrast to Fox’s minimal spacings between sounds, Anderson creates a more open sonic field where languid movements and long tones are punctuated by sharp spikes of sound and gesture. The processing adds fleeting, decaying loops, watery masses, varying textures and brief abrupt buzzings, creating a cumulative rendering of a kind of subterranean or interior space."
Dean Linguey