"Vrindavana" is a solo track, while on "Radhe-Shyam" and "Transcendence", Coltrane appears on harp accompanied by a string ensemble.

The remaining tracks are among the earliest examples of her use of Hindu devotional hymns called bhajans, and feature Coltrane on keyboards joined by large groups of singers who also clap and play hand instruments.

[1][2][3] In a review for AllMusic, Thom Jurek wrote: "the vision on display here is not so much a grand musical one as it is an intensely focused spiritual one... it makes for a challenging but thoroughly engaging listen, wherein moods, modes, ambiences, and densities are offered as meditative spaces for the listener... Transcendence is another chapter in a body of work by Ms. Coltrane that was not generally understood until the 21st century, where it received the acclaim it so richly deserved.

"[5] Writing for Spectrum Culture, Daniel Bromfield commented: "We can easily see how her eye for architectural detail passed down to her nephew Flying Lotus.

"[6] In an article for Red Bull Music Academy, Britt Robson called "Vrindavana" "mesmerizing," but noted that "the song-chants with her students on the back end of the album are the real reward, for they crystallize the devotional passions of gospel testimony and Hindu bliss in a riveting synergy.