Frith drew on English theatre maker Peter Brook's approach of bringing together performers from completely different cultural backgrounds.

"[4] In a review for All About Jazz, Nic Jones wrote: "An unusual instrumentation enhances the singularity of the single hour-long title piece, and the deployment is something else... Frith has always maintained an interest in longer forms, despite the brevity shown by much of his music on record.

"[5] Writing for Point of Departure, Art Lange commented: "As the musicians co-inhabit segments of time they create a cross-talk of rhythms and styles; brief echoes of Japanese, Chinese, and Korean court musics and lyrical folk songs emerge and recede, with the ensemble thickening and thinning out to sustain momentum.

But the strongest impression that the music makes, and the clue that Frith has succeeded at his goal, is that this sounds not like the result of a single vision, but rather of a true ensemble – a cohesive community of effort.

"[6] The New York City Jazz Record's Marc Medwin stated: "Despite numerous layers, there is never a sense of clutter, as there is with so many pieces where samples and live instruments coexist.