Monotrona shows and music are notoriously difficult to categorize but have been described as “a perfect balance between silliness and creepiness, not to mention … the best thing to happen to the sputtering corpse of electro since asymmetrical haircuts.” [2] In a 1996 interview with local Portland ‘zine Snipehunt, Monotrona mused: “When you do stuff like this where you’re being kind of goofy anyway--if you don’t spread that goofiness, then you’ve failed.” [3] She was even voted “Scariest Musical Performer” in Portland in 1996.
Tom Moody, for example, describes her as a "post-feminist, posthuman musician/performance artist"[5] and indeed a closer look at the lyrics reveals a recurring tension between that which is human and that which is not.
Roctober Magazine wrote in its one-man band issue: "...as long as we can dance to the magical sounds of Monotrona, who really needs the answers?"
In 1998 Monotrona moved to New York City, dispensed with actual instruments, and began using video game and other electronic samples.
In the spring of 1999 Casey Spooner of Fischerspooner performed as Hawekeye and Firebird and even dressed in Monotrona's costume when she was unable to make her show.