"The CD surprised me because it could be listened to with many ears. At first I felt I could not separate it from contemporary composed music, soon after that I could still place it in the context of contemporary improvised music, and finally the fantasticness of a journey that takes the best both worlds have to offer revealed itself to me. Much of the merit can be attributed to the sensible arrangement of the four movements, which, despite being at least superficially similar procedures - mixing the improvisational with the pre-arranged, perhaps even the written (probably not exactly notated) - in their mutual sequence create clear contrasts that touching on moods as well as material and design logic." - Gregor Pompe

"But it is clear from the recording itself not only that these retain their variety, but also that they go beyond a generalised reflection on the relationship between composition and improvisation. In some other cases, discussions of this relationship can even revolve around percentages and quantitative measurements, but Šalter avoids such banalities by clearly characterising his four compositions, which are characterised by their differences, above all, in their focus on sonority, duration, temporal dynamics, as well as their variegation in loudness." - Aleš Rojc

"Throughout the entire recording, the Šalter Ensemble not only operates with the classical techniques of free improvisation, but also delves into the structures of academic music and experiments with electronics - and, most importantly, plays with ease and grace, which is worth the trouble. It's the focus and interest of so many musicians in playing together that makes this an impressive recording." - Ilia Belorukov

"Non-hierarchical and with compositional and sonic contributions from all concerned, the affirmative quality of the Šalter Ensemble’s program could serve as a paradigm for more international partnerships." - Ken Waxman