"[5] Derek Taylor of Dusted Magazine included the album in his year-end "best of" list,[9] and remarked: "The end collective effect often takes on the unexpected superficial semblance to traditional Japanese theater music in its meditative symmetry and controlled dissonances... this is certainly an achievement that stands out in singular and fascinating form.

With the selections unfolding in real time, very soon a rapprochement is made between the saxophonist's alp-horn-like swells and rhythmic reverberations which resemble the clatter of mah-jong tiles.

Nauseef... makes bell-tree shakes and prayer bowl rubs fit the tunes without fissure, moving alongside Gouband's individualistic strategy of slapping stones on drum tops.

"[11] Writer Raul Da Gama stated: "Texture is everything: there are no silences; only long slurs and echoes after which the music seems to be punctuated by a series of crescendos... there is always a sense of sculpted sound but the combination of instrumental timbres is often radiantly beautiful, suggesting bejewelled and absolutely aglow.

"[15] The Free Jazz Collective's Stuart Broomer included the album in his list of the year's notable recordings, describing it as "superb music... a soundworld at once abstract and intimate, with every sound spontaneously presenting itself with acute detail and a sense of inevitability.