Dionisio Capuano (BLOW UP Magazine 119, April 2008):

<<Romina Daniele has been awarded with the Demetrio Stratos International Award and in her new album we can notice not only a great vocal ability - power and versatility – but a great talent interpreting the sense of music and composing abilities as well. You can listen/read ‘Aisthànomai’ like a theoretical work, an organized anthology and a poetical-musical form.

First, it is necessary to read the booklet texts where the aesthetics topics are discussed. ‘Voice-Matter-Nature. ‘Electronics-Suond-Technique. Language-Text-Concept’. These are the territories in which Aisthànomai takes shape… and where my cognitive non-condition law is placed as an expressive aim freely pursued.

In a second point of view, the work offers a charming performance/interpretation.

Drexkode.net (Music, Events, Readings & Visions Webzine):

<<Let’s start from the end, imagine you are on a sea cliff… you can slip or try to fly, charmed by sirens’ call…but the mental magnet is roaming.

The complexity of the work of Romina Daniele is based on her fine vocal research, a way of using the voice as an instrument, like Diamanda Galas, but here there is more. A peculiar combination of different disciplines including theatre, philosophy, aesthetics and electronics used as a movie soundtrack. Aisthànomai - the Greek term that means ‘to perceive, to understand’ – with its essay and its multifaceted directions, it can be seen as a real opera of avant-garde theatre. Romina Daniele put herself in front of the audience stimulating it and producing a thrilling and a charming sound with vocals creating dark/shining atmospheres throwing the listener in a "lyrics-voice-music" spiral that oblige us to confront with ourselves.

‘Retro’ and ‘Post’ are two mannequins which have been taken and beaten, but it would be misleading doing too much personal descriptions, what is clear is that when the match ends, we find ourselves disoriented.

Versatile tracks like ‘Sguardo (take2)’ seems like the Oz witch or ‘Poesis I’ recalls Badalamenti of David Lynch soundtracks. Then musical atmosphere like G.P'Orridge, but also a dark/ambient that goes into an unclear essence which can be seen by eyes not yet ready to light, sometimes similar to ‘Teatro Satanico’, from Italy too. Her unique and mutating voice creates endless moods.  Aisthànomai is a great opera of direction, life and drama, asking the audience to take up the challenge and stay until the end. Whispers and screams.>>

Simone Broglia (Mescalina.it): << is one of those albums which we are always less used to (…) concentrating on the sound, it is a work about frequencies, often about very low frequency sound waves (…) The voice is the main theme of the entire album, not an instrument, but a way to create synonyms; the voice is the presence of the artist herself (...) divided and re-composed, separated in frequencies which are able to dilate, lay, smooth over and strengthen themselves (...) Romina Daniele is presenting a work that leave the listener satisfied for the opportunity to appreciate an experimental work and a research about sounds, dynamics, vocal timber, theatre, poetry, aesthetics, body. >>

Full review (Italian) at:  http://www.mescalina.it/musica/recensioni/recensioni-musica.php?id=2349

Delio Salottolo (Labaut): << [...] We could think… beyond the One (as sense, belonging, voice, word and sensation) and the Manifold (of senses excluding themselves, of the (non)belongings, of the (un)responsible sounds, of the (non)meaning, of the emotional cords skinned from the sounds), but we do not have to care about this: we have to face the real danger [...] >> [Full text available in intalian  at Aisthànomai Reviews page (italian version)]

Massimo Salari (Rock Impressions): << [...] we can listen electronics on which the singer express herself completely, her voice going beyond, above its structural logics which we have always been used to in our music listening. Intensity, weirdness and theatrical atmospheres together in a reticular way. As the artist says: ‘Aisthànomai involves sound diffractions and introduces text diffractions (whereas the text commonly intended is the symbol of the omniscience I want to unhinge) and digital diffractions…’  [...] >>

Full review (Italian) at:  http://www.rock-impressions.com/danieleromina2.htm

Erba della Strega.it:

<< [...] Because she is not simply an artist recording albums…we are in front of a soul which creates, modifies, destroyes and creates something new. We are very far from the common ‘album’ concept and we are very close to the classical concept of ‘Art’, take it or leave it. [...] >>

>> Full review (italian) here

Roberto Filippozzi (Darkroom Magazine): <<Romina Daniele (born in Naples in 1980 and living in Milan from 2005) is not so much known yet, but she is representing one of the best new artist of the Italian avant-garde musical scene. In 2005 she has been awarded with the Demetrio Stratos International Award for musical experimentation thanks to her first record. This award has been given to Diamanda Galàs and Meredith Monk too and it is dedicated to the memory of Demetrio Stratos which has given a great contribution to the musical experimentation with his band Area and the solo career (...)>>

[Full review (Italian) at: http://www.darkroom-magazine.it/ita/109/Recensione.php?r=594]