Mark Richardson of Pitchfork declared, "Sounds appear as multi-layer holograms, with both sources and ghosted copies simultaneously vying for attention, a piece of sonic trickery used to create some of the most serene and aquatic music of the '90s."
Mark Richardson of Pitchfork noted that sounds in this music form multi-layer holograms where both original elements and ghostly duplicates vie for attention, showcasing a sophisticated use of sound manipulation to produce some of the calmest and most aquatic tracks of the 1990s.