Then Milo is bowing the bass and I was playing the bass drum and the hi hat - then Jack was playing all the samples on the keyboard - because we are now looking for ways to not always have the saxophone, or the sound of the hang, but it's still in there - and that really felt like a breakthrough.”[13] The artwork and design for the album was done by the drummer Duncan Bellamy, who has a degree in Fine Art from Central Saint Martins.

Music OMH highlighted how it managed to “amalgamate arrangements of modern and traditional instruments to devastating, hypnotic effect”[15] and All About Jazz praised the “greatly expanded sonic palette and stylistic purview”.

[16] DIY Magazine called it “one of the first truly remarkable records of 2012…an album which grabs the zeitgeist but still stays true to its roots: callipygously shuffling, painlessly segueing, mingling the darkest rags ‘n’ bones of dubstep, d ‘n’b and off-kilter jazz, all the while interweaving heck loads of new-found textures and electronics.

Crack Magazine said that “Portico Quartet's subtle musical intricacies combined with production values heralding unrivalled clarity have been meshed in a very modern way to create an album of wonderful proportions and balanced minimalism.

[20] The album came 3rd in Crack Magazine's top 100 albums of 2012 who commented that it was “a glorious success in changing direction…less focused on the hang-drum that defined previous releases, the minimal sparse approach and killer production quality left an indelible mark on our listening.”[21] All songs composed, arranged and performed by Portico Quartet.