[2] Author and music curator David Toop wrote that Esquivel "explored the hallucinatory possibilities of stereo by recording sections of his orchestra in separate studios to achieve an exaggerated spatial image.

[5] The instruments used on the album included xylophone, accordion, electric and Spanish guitar, French horn, trumpet, flute, piano and theremin.

[8] Harold Angel of the Philadelphia Daily News also focused on the stereo effects: "Esquivel is always fascinating, but here, for the first time -- absolute separation of channels was achieved.

Reviewer Irai GH praised its stereo effects: "[I]t is an expanding album that takes up all the space while listening, as it moves from left to right, from top to bottom and from front to back with intersecting instruments.

Crude as the sound magic is, the illusionism has parallels both with the Kinetic painting and sculpture of Bridget Riley and Pol Bury or with the surreal imagistic dislocations of Salvador Dali and Rene Magritte.