"[10] Dusted Magazine's Derek Taylor noted that the music "follows Rivers' usual framework of episodic segments sequenced around his four primary instruments...

The audience is largely silent rapt throughout, a complimentary reflection of the band's concerted ability to keep eyes and ears absorbed en mass[sic].

"[11] Writing for Point of Departure, Kevin Whitehead wrote: "The virtue of Sam's episodic sets is that they'd venture all over, from the ferocious to the pastoral, the dense to the airy, playing to their strengths in no fixed order or combination.

"[12] In an article for JazzWord, Ken Waxman stated: "Intense from beginning to end, the one track... gives Rivers ample space to display his seesawing style on tenor and soprano saxophones, flute and piano... With the bassist's sympathetic strums framing him Rivers' tenor saxophone moves through split tone and glossolalia...

Yet as Daley's plunger whinnies stunningly contrast with Rivers' staccato snarls and doits, the sliding narrative picks up additional power from Holland's walking pumps and hand-clapping drum beats that owe as much to bebop as free jazz.