The New York Times:
Bob Ostertag’s improvisations on various non-keyboard synthesizers are about as far removed from the electronic music clichés of the past as can be imagined.
Sampling technology is used in a significant way for the first time. The music encircles reality, decomposes it into music and recomposes it until reality is no longer able to escape. Great music, that has something to do with life again.
The New York Times:
Bob Ostertag’s “All the Rage” turned the evening on its head with a devastating roar of gay anger. Of recent concert pieces having to do with AIDS, “All the Rage” seems by far the most powerful example. Mr. Ostertag’s stern, purifying gaze has swept away the sentimentality and melodrama that have compromised more famous compositions in the genre.
Music and Sound Output:
Perhaps the oddest music I have ever heard, it’s also more the sound of lives lived, and lives lost, than any music I have ever heard.
Truly powerful political art is rare, but this is some.
Odd and genius. Like nothing before or after, I promise.
Bob Ostertag is the blaspheming priest of the art of noise. Genius underlies his performance.
Faster Than Sheep:
Part of you will have to be frightened, part of you hopefully will be enlightened, and part of you may be dumbfounded.
San Francisco Bay Guardian:
As beautiful as the pastoral/celestial meditations of Brian Eno or Kitaro would be — if either one of those musicians chewed glass.
Astonishingly, the music never seems artificial. The border between live improvisation and computerized manipulation blurs and is finally made irrelevant by the music which results.
Bob Ostertag is the hero of the digital frontier and leader of new performance in sonic exploration.
Ostertag’s music brings together audience and musicians alike in an almost corporeal bond — music of enormous emotional impact.
A gleeful savagery, with the droll wit of Satie’s piano pieces, the breathless silences of Japanese music, the collaged clutter of Stockhausen’s short-wave radio suites, and the political bite of Brecht/Weill songs.