Corinna da Fonseca-Wollheim of The New York Times wrote, "...there’s nothing quite like the hypnotic experience of being immersed live in the shimmering, thrumming, pealing sound cloud created by these instruments, many of which have ceremonial powers in their cultures of origin."
"[3] John von Rhein of the Chicago Tribune similarly lauded, "There's a ritualistic quality to Thomas' tintinnabulations, each percussionist assuming by turns a kind of hieratic function.
Bell sounds at once ancient and modern – bright, dark, shimmering, shattering, rhythmic, lyric – combine to create a wondrous, otherworldly carillon.
"[4] Michael Cameron of the Chicago Classical Review remarked:The clear, semi-dry acoustics of Logan Center were a perfect fit for the strike-and-decay sonic profile, and the players threw themselves into their realization with obvious affection for both the composer and the centuries of musical traditions that shaped each instrument.
A lesser composer might have drowned under the stress of such a profusion of sonic possibilities, but Thomas neatly matched each rhythmic gesture to an appropriate sound and dynamic.