“a rewarding record that makes a convincing argument for Borden’s place in the company of “big name” minimalists.” Boston Rock, Ted Drozdowski, June 1986
“Borden’s band successfully extends the boundaries of minimalism.” Jazziz, April/May ‘86 (USA)
“Fans of Riley, Glass, Reich and other contrapuntally minded experimentalists are advised to look here.” Billboard, April 12, 1986 (USA)
“There is a new sound breakthrough here, venturing into a space seldom found in the 80’s music selection. The very soprano voice, sax and piano within Borden’s anatidae stimulate new jazzed myths in the contemporary aura.” Beef, v.6, #18 1986
“This is pop-flavored minimalist music, repetitive, pulsing, slowly shifting... Comparisons? I’d say Mikel Rouse, or Wim Mertens (leader of Belgium’s Soft Verdict). Like those two, Borden’s music aims more for the art-rock cross over audience than big names like Philip Glass and Steve Reich do, mostly through the use of synthesizers.” Option, May/June 1986 (USA)
“density is just what this music seems to be about...The title says it all. Counterpoint -- all sorts of it -- is the focus of these shifting patterns of multiple keyboard textures...The highlight is “TSOC,” Part 5, which features the saxophone work of Thimming and the thundering drums of Van Teighem. This is also some of the jazziest music with repetitive structures that I’ve heard yet.” Airtight, Roger Levesque, March 1986
“Finally, we come to the most significant and certainly the most influential new music trend of the last 25 years: minimalism... David Borden is a gifted but little known composer who has released a scant four albums in 13 years...As their titles suggest, these are contrapuntal works with the inner drive of minimalism powering them through their elaborate electronic lines.” Downbeat, John Diliberto, May 1986