Michael Rosenstein (Cadence) wrote that it was a "session of inspired improvisation and captivating spontaneous group interplay. The use of extended technique in free settings is almost expected now so it stands almost radical when these three temper its use, instead drawing on clarion tone and conversational phrasing." The Penguin Guide to Jazz noted that Dominic Duval "seems unfettered by the example of any previous bass played and [he] sounds much more European than any North American." It went on, as usual, to suggest negative about the sound "… given CIMPs audio verité approach, there isn't much to choose between actual session and preserved demo. Like all the label's output, the sound is raw and very immediate." Ben Watson (HiFi News) wrote "Full use is made CIMP's no-compression recording: the open space and cliff-face dynamics are exhilarating. Not one to play in the car, but if you want to really test your equipment, this is the one. Magisterial magic that mutates the ear." Derek Ansell in the Jazz Journal cautioned "Be warned, though, there are wide variations of dynamics in the music and loud passages fairly scream out of the speakers" and echoes what our productions are for when he wrote "I would say give it a try: at the very least you will hear something new, difficult and at times quite stimulating. It does, however, require a degree of commitment on the part of the listener and if you treat it as background or wallpaper music you will not appreciate it at all." And for Will Smith (Omaha World Herald) "the problem with these sound creations is that listeners too often will find no linear movement.