Reviewing the disc, ambient radio station Star's End commented "the duo of centrozoon produce spacemusic difficult to quantify, trace or categorize; their distinguishing characteristic being improvisation… Blast speaks to the listener with a musical vocabulary of contrasting harmonies and remarkable timbres… an album that is at once experimental, cerebral, spacious and engaging.
Blast was followed by Sun Lounge Debris, a collection of pieces of a varying nature, initially issued on British art-rock label Burning Shed in 2001 as a CD-R release.
Allmusic noted the album's "ambient-inspired depths, with slowly progressing songs that unfold with layers of haunting, lovely drones that sound like soft sighs" and commented on the "definite hints of prog-tinged exploration throughout... Reuter's a very deliberate player, and his skill at creating loops out of his performances establishes the shade and beautiful texture of the pieces.
The title track is the standout, with Wöstheinrich's beat chaos going near full gabber levels at points throughout the twenty-minute composition, all while soothing keyboards and alternately screaming and calm guitar take the lead."
AMG also praised the band for "steer(ing) away from half-hearted fusion to their own particular logic" as well as noting "Reuter's ability to create a brief, thrilling hero rock riff as needed, giving the compositions a nice bit of bite.
"[5] The Dutch Progressive Rock Pages described The Cult Of: Bibiboo as "an album full of sonic landscapes which though minimalistic and seemingly simple, is exceptionally rich sounding" while also commenting that "commercial is a word that cannot be whispered when listening to this release and (unfortunately) it is a case of like it or leave it."
For their next stage of activity, centrozoon began working as a trio with the addition of No-Man singer Tim Bowness, making several appearances with this line-up in the UK in 2002 and shifting their musical focus towards tightly structured songs.
Twilight Zone webzine compared the results to Depeche Mode, praising the “splendid arrangements” and “chilling prog atmospheres”,[7] while Expose labelled it “a hybrid pop refinement that will appear to fans of Japan as well as King Crimson.”[8] For various reasons, the follow-up album (Never Trust The Way You Are) was delayed, with the band making up for lost time by releasing the live concert DVD Bigger Space on Burning Shed.
Reviewing the album, Classic Rock commented "The stark, spooky arrangements of 'Bigger Space' and 'Ten Versions Of America' fail to disguise cunning hooks, the record's myriad charms unravelling the more it's played.
Regen-Mag was measured in its praise, stating that the album "impresses in its constructions if not its musicality" and criticising "the lack of a firm anchor for the casual listener to latch onto" although approving the album for being "impressive in its sound design and construction if not for the musical value... washes of mystical beauty slash and scurry through the mix, like brushstrokes on an audio canvas."
In 2012, centrozoon announced the forthcoming release of a new album, Boner, which they described as a return to highly experimental work involving dense overdubbing drawn from dozens of hours of recording.
Reuter and/or Wöstheinrich have also collaborated (together and separately) with Ian Boddy, Robert Rich, and Nigel Mullaney, and both contributed to Tim Bowness’ 2004 solo album My Hotel Year.