Recorded using only a Yamaha DX7 and Roland TR-707 drum machine, the musician felt he was able to musically display the feelings that the environment gave him accurately.

Beverly Glenn-Copeland, born in Philadelphia but raised in Canada, worked for many years composing music for children's television, including Sesame Street.

[2] His songwriting and performing credits for children's shows also included Shining Time Station and Mr. Dressup, but he also released his own music in the meantime.

"[5] "Recorded in Huntsville, Ontario using an array of synths, computers and drum machines, the music vividly encapsulates a strange synthesis of spirituality and technology."

[7] The album nonetheless became considered a "criminally overlooked and pioneering piece of electronic music" among a select group of audiophiles, according to Eric Volmers of the Calgary Herald.

[13] Among the audiophile fans was a Japanese collector named Ryota Masuko[14] who contacted Glenn-Copeland in December 2015 to ask if he could send him any available copies of the album so he could sell them.

Séance Centre promoted the reissue with a six-minute short film entitled The Lake Sultra, in which Glenn-Copeland revisited the environment he recorded the album in.

[3] Anton Spice of The Vinyl Factory felt that the album was "now reaching a wider audience entranced by the music of fellow explorers Laraaji, Pauline Anna Strom and more.

called the album a "New Age classic" and noted that only since its rediscovery was it that "the full extent of this multifaceted individuals' creative past, present and future" were being realized.

[18] In a review of the Invisible City Editions reissue, Andrew Ryce of Resident Advisor described Keyboard Fantasies as "modest but stunning" and praised the "arresting" music and Glenn-Copeland's "one-of-a-kind voice."

He concluded: "Unabashedly sentimental as it is, Keyboard Fantasies isn't for everyone, but fans of new age and oddball synth music will find something to love in Copeland's evergreen world, which still sounds wondrous and new, even 30 years on from its original release.

"[10] Tom Ewing of Freaky Trigger felt that "[t]he keyboard fantasies themselves are indeed lovely, ethereal and relaxing," but wrote that "Glenn Copeland's vocals are more distracting – he's not a bad singer but his intensity sits slightly awkwardly with the music."

"[13] With his newfound appreciation, the musician gave a lecture at Red Bull Music Academy,[3] where he told the story of the renewed interest in Keyboard Fantasies,[18] and also performed shows with the Queer Songbook Orchestra of Toronto.

[3] He decided to perform the album live due to the demand, commenting: "There is this young generation that is so excited about this music and it would be selfish of me to sit around going, 'I am sorry, I don't tour'."