“Minimalism, for those unfamiliar with the genre, is a compositional style with roots in traditional eastern music. It is based on rapidly repeating cycles of notes, gradually being altered as the piece moves on. There are generally two distinct sound layers, one moving frantically and hypnotically about a slower and majestic bottom layer. Minimalist compositions are generally for a small ensemble... Borden’s song cycle... is one of the finest examples of minimalism for a small ensemble. The sound is very full. Part Five was reminiscent of Mozart in that the complexity of the arrangement seemed so natural. Nothing seemed forced. The complex maze of notes was as normal as the music from a bird-filled forest.” Alternative Press, #30
“...Borden shows himself here to be a dyed-in-the-wool minimalist, recalling the glory days of the early to mid-1970s, before excessive romanticism crept into the music of the minimalist ideologues…One can make comparisons with the sound and style of the Philip Glass Ensemble or Mikel Rouse’s Broken Consort, but Borden is very much his own man. This is wonderful music...a compelling musical experience.” Ear Magazine, Dean Suzuki, Nov. 1990 (USA)
“Borden has contrived to establish intricate and sometimes obscure musical relationships among all twelve parts of the series....the music is often involving and quite beautiful -- in a civilized, understated way. ...Borden does seem to have a general aesthetic affinity with the early Baroque period, when music had a generalized spiritual quality and the individual ego was subordinated to a larger world of musical, philosophical and theological ideas. Not that Borden’s work is overtly religious, but it does commit itself to certain large-scale ordering principles, which distinguishes it from the eccentric and often egotistical self-expression of later periods in classical music. One of the unusual characteristics in Borden’s work, especially on this CD, is the combination of hyperkinetic 16th note patterns and long, floating drones, which creates an aural illusion of music which is racing forward and standing still at the same time. This is especially true of the three section of Part 8, which have a softer, slightly more romantic sensibility than their companions, and are probably the most compelling pieces on [this] CD. All Music Guide, http://allmusic.com, Bill Tilland, 1999
“Parts 5-8 were originally written for electric piano, Moog and mini-Moog, but are re-orchestrated here using updated technology. And that’s the fascinating part... On the earlier version the interlocking keyboard parts were woven so tightly they almost became a single sparkling, flowing stream. On the updated version, a great variety of synthesized and sampled voices are used, contrasting with the textures of Borden’s son Gabriel’s guitar work. Here the piece’s individual strands, with their conflicting meters, become apparent for the first time.” Damp , #6