Review from The Scotsman:

Festival review: Kill Your Timid Notion
Published Date: 14 October 2008
By ANDREW EATON
****
VARIOUS VENUES, DUNDEE
DUNDEE'S annual festival of experimental music, art and film is something of a national treasure, not only for the way it offers experiences you won't find anywhere else, but also for the manner in which it presents them. There is a boyish, unpretentious enthusiasm to co-curator Barry Esson, whose jovial introductions to the acts and informal brochure notes give the event a completely different atmosphere to, say, the forbiddingly academic National Review of Live Art. Whether shepherding the audience to the middle in order to get a better view, or giving sections of the programme titles like "what's going on here?" and "why's it interesting?", Esson, along with partner Bryony McIntyre, neither baffle you with jargon nor talk down to you.
This is important, because KYTN can often be hard going. Friday's opening night included a lengthy performance in which Benedict Drew and Sachiko M used electronic sounds to vibrate a catwalk of charcoal – and this was one of the more accessible pieces, both highly musical and visually beautiful. As the charcoal danced across the catwalk, making waves and patterns as it crumbled to dust, the noises that Drew and Sachiko created made three-dimensional shapes, in a moving fusion of sight and sound.
Other acts were less compelling, at least to these eyes and ears. After Leonardo, a performance featuring multiple images of the Mona Lisa, felt heavy-handed and dull, especially compared to Guy Sherwin's Man With a Mirror, a simple, ingenious piece in which Sherwin interacted with a film of his 32-years-younger self, projected on to a mirror held in his hands.

Excert From The Wire :

........Finally Sachiko M, in duo with London’s Benedict Drew, is as mysterious as ever. Her piercing sine waves sit there just being themselves, like the Thames outside, or the Tate’s Turbine Hall itself. And yet something up in that unfamiliarly high-pitched, eardrum-bleaching area is constantly shifting. Drew also works with one subject, in his case a flickering, off-centre mesh of lines like sparklers. Half a dozen of the audience eventually begin to whistle along with the sines. It has to be said that, like Schubert, Sachiko’s music sounds better without heckling, though maybe this is the price for putting it in front of such a large crowd. The last few minutes are quite different: a coda of juddering, loose-plug sounds, while Drew seems to be projecting a strobe onto a bunch of fibres. Is he craftily shifting at the last minute from abstract art to live animation?
CLIVE BELL