[1][2][3] In a review for AllMusic, Glenn Astarita wrote: "Buckner's wordless vocals complement Cooper's keenly constructed percussion motifs and EFX based treatments... the musicians paint lucid canvasses, awash with imaginary voyages as they morph lesser-known musical terrains into idealized statements... they sustain a great deal of interest throughout these lengthy pieces... the musicians pursue elusive frameworks along with textural components that often allude to subversive shifts in strategy.

"[4] Ken Waxman, writing for All About Jazz, commented: "Buckner, using his full-spectrum voice, and Cooper, on a variety of percussion instruments, approach the four spontaneous improvisations with the same aplomb as if they were respectively vocalizing an early music motet or playing a straight jazz tune...

The duo's work... suggests pygmy chanting, speaking-in-tongues, animal cries and mysterious Indo-European word play on the vocal side, while Cooper flits from sock cymbal to bass drum to electric keyboard used both as electric piano and synthesized strings for more expansion coloration.

"[2] In an article for Signal to Noise, Pat Buzby stated: "Cooper's playing here stands out for its uniquely light but driving touch... Buckner's voice... delves into low groans, high cries and semi-operatic stylings, but steers clear of harshness.

Avoiding poking and prodding, Cooper and Buckner work alongside one another patiently, on the same wavelength.