[1][2][3][4] According to Derek Bailey, Oxley's percussion setup included "amplified frame containing cymbals, wires, various kitchen equipment, motor generators, springs, used with 3 contact mikes (home-made), 2 volume pedals, 1 octave splitter, 1 compressor, 1 ring modulator and oscillator, 1 amplifier and 2 speakers,"[5] with the term "frame" accounting for the track titles.

In a review for All About Jazz, John Eyles wrote: "Despite being created by two drummers, while their music has a definite pulse, they do not overtly keep time; instead, using that uncanny knack which the best improvising drummers have, they pay attention to textural sounds while ensuring the underlying pulse remains implicit throughout... they never clash or work against one another, but together combine to create soundscapes which are deep and rich in detail, making them endlessly fascinating.

"[4] Brian Morton of Jazz Journal called the album "a remarkable performance," and stated: "So carefully and coherently programmed is the electronic component that it's hard to hear this as two voices at all...

"[6] Point of Departure's Michael Rosenstein commented: "From the initial chimes, shuddering rattles, gongs, clinks, and clatter, it is impossible to separate Hölker's contributions from Oxley's.

"[7] Writing for The New York City Jazz Record, Mark Keresman remarked: "If one seeks pure drumming, one could be a touch nonplussed here.