The presence of George Haslam was a great asset [to the Encontro de Música Improvisada de Atouguia da Baleia, Portugal], but it was in fact the Portuguese percussionist Sofia Borges… who proved to be the most distinguished figure at the event. (Rui Eduardo Paes,

The undoubted highlight though was Borges intricate percussiveness, deftly coaxing detailed rhythms from just a couple of drums and a variety of dangling sound-makers. (Dave Jackson, A Jazz Noise)

The Portuguese composer and percussionist Sofia Borges had built her own percussion instruments, which were partly electronic and which she both played and controlled with a software. In the work L’homme Machine #2 there was a wondrous music-box-like collage, layered with brutal noise, where the game was physically concrete while the concert took a purely sculptural form when Borges contemplatively tweaking the software and the machines turned into an amorphous mass delivering a structured cacophony. (Andreas Engström, Opulens)

An excellent percussionist with gentle sounds and ways… She plays with gestures that seem to extract sounds – which were already there, making them audible – rather than impose them to her audience. Never arrogant, always original. Great soirée. (Pat Lugo. Tempo al Tempo./Exit Lab)

Ein Album, das genaues Zuhören verdient (Rui Eduardo Paes,

Es gab neue Gesichter wie Sofia Borges, die mit Kontaktmikrofonen bestückte Küchenutensilien und Field Recordings zu einer zarten Echtzeitcollage anrührte. (Eric Mandel, jazzthetik)

The musical rendering of Sofia Borges is part of the narrative journey and is equally moving and profound. (Gyde Cold, Zoon-Politikum)

In her compositions, Sofia Borges touches on magical things as if by chance. (James Wood, Leo Samama, Tenso Jury Report 2015)