[5] This has been interpreted by critics as reflecting the album's music, which is a meeting point between jazz, contemporary composition, and Norgwegian folk.

In a review by John Fordham for The Guardian, Sangam was described as the epitome of the ECM jazz aesthetic and, while containing many slow compositions, Seim's "subtle and sumptuous overlaying of textures" was felt to create excitement and a "sense of evolution".

[2] As with the critical appraisal of its predecessor, this textural approach was perceived negatively by some, with Blair Sanderson of AllMusic describing Sangam as often "incredibly ponderous and heavy-going" owing to "the extremely slow tempi".

"[7] The inclusion of virtuoso accordionist Frode Haltli was highlighted as bringing a refreshing sonic texture to Sangam, while also providing opportunities to better incorporate Seim's interest in Norwegian folk music.

[6][7] Seim would go on to collaborate with Haltli in a number of sessions after Sangam, including the albums Yeraz[9] and Rumi Songs,[10] also released on ECM Records.