When Wadling became a steady member of Flesh Quartet, they received a distinctive vocalist and also became more accessible, since the addition of more lead vocals put them closer to popular music. Wadling's voice is extremely expressive, ranging from agonized howls to intensive, close mumbling. On this album, the close and intensive dominate and the wild excursions from Fläskkvartetten Featuring Freddie Wadling med Västerås Symfoni 1:a are not heard. Singing second vocals is Zachrisson, who doesn't make the same impression, but her coolness is nevertheless a good counterpart in the duets. Much of the album is slow and ballad-like, but most interesting is probably the combination of dance rhythms with the dynamics of an orchestra. What distinguishes Flesh Quartet from other dub and ambient bands from the mid-'90s is partly their songwriting skills, drawing from classic, popular, and dance music alike. But the biggest part is their organic feeling, coming from having an actual band and two skilled singers. And while ambient has been mentioned to give an idea of what this album sounds like, Flesh Quartet actually hover between this style and a number of others, for the influences are as much classic music, with a dry distorted solo violin, as oriental and Scandinavian folk music. But neither are the folk influences dominant enough to have the band sorted in among Scandinavian worldbeat bands like Hedningarna and Den Fule that mix old Nordic harmonies with modern beats. Among all the skilled musicians on this album, Sleepy is worth mentioning for his perfectly disciplined scratching.
AllMusic Review by Lars Lovén