[4][5][6][1][7] The album closes with "Place," a song where the duo, in the words of Wilson, uses "software that randomly generates a new set of notes every time the track is recorded to disk.

"[1] The note generations were inspired by John Cage's use of the ancient Chinese text I Ching and the use of prime numbers by Walter Zimmermann, and attempt to get Doran's ego "out of the process” on the album.

"[6] Tiny Mix Tapes critic Michael J. wrote that despite using sounds that are "no longer all that surprising," Reassemblage is "oddly intangible," which is contributed by its "low-key unpredictability" and inability to find a specific basic structure for each track.

"[8] Reassemblage uses a method similar to Vietnamese filmmaker Trinh T. Minh-ha's 1982 documentary film that it is named after, where it perceives music cultures from around the globe without giving any meaning to it.

"[9] In “Bloodstream," a collection of sounds described by Stroud as "bio-mechanical gibberish" comes to a halt, but then rises again into "a long, momentous exhalation [...] surging out of that uncanny valley between the human voice and synthesizer that can be so disorienting.

"[9] As Stroud writes, "It’s exhilaration, weightlessness, a feeling that one is flying through clouds spitting bursts of lightning that pose no threat and offer amazing spectacles of light.

[2][10] “Screen" consists of water sounds that become higher in pitch and wrinkly in tone as the track progresses, eventually turning into fabricated cellophane-esque sea textures.

[5] According to writer Phillip Sherburne, the flute is the central point of the song and an example of sounds that represent the yearning of going into an alien landscape in Visible Cloaks' works.

[11] Meanwhile, blips, crystal-like sounds and unharmonous koto plucks come together to create a glitched, alien world or "a celebration of faked human inflection" as Resident Advisor journalist Angus Finlayson described.

[5] Similar praise came from AllMusic journalist Paul Simpson, who called it "intriguing and accessible, yet just strange enough to stand out among all the other experimental electronic artists mining the early new age era for inspiration.

"[21] Beta especially spotlighted Visible Cloaks' use of early digital sounds that was very unusual from most vaporwave releases and works in the style of Daniel Lopatin, James Ferraro, and Laurel Halo.

[5] Stroud, reviewing for Popmatters, also praised its sound as distinctive from most ambient release, calling the album "of remarkable restraint that never feels overly restricted.