"[7] In a review for AllMusic, William York wrote: "Johansson's studied, deliberate performances give listeners a real in-depth chance to hear the fundamental elements -- how he layers different time signatures and tempos on the various parts of his kit to summon up a circular sort of flow that is free of any regular pulse."

However, he noted that "while Schlingerland makes it easy to gain a respect for Johansson's craft and command of his instrument, listeners will have to show an unusual amount of patience and attentiveness to really get much out of this album.

's David Dacks noted that Johansson is "not playing like a soloist; he's creating a soundscape of rhythm," and remarked: "The effect is much like the trance inducement of the Gnawa Musicians of Marrakech, or even a good rainstorm.

"[11] The authors of The Penguin Guide to Jazz Recordings called the album "an entertaining glance back" where "the drummer simply rambles around the kit.

"[8] Writing for The Quietus, Jennifer Lucy Allan wrote: "Johansson uses the kit so the sound accumulates like clouds, gaining enough of a fullness to make you wonder why we would ever need to hear other instruments again.