From Bluegrass Unlimited December 2007.

This is one of the more complicated records I've yet reviewed. How to convey all or even part of what I'm hearing in these 11 instrumental tracks. All the wonderful textures, all the shifts of time, and rhythm and mood. Showcased is the talented interplay between banjoist Jake Schepps, violinist Ryan Drickey, guitarist and mandolinist Greg Shochet, bassist Eric Thorin, and guests in mandolinist Matt Flinner and guitarist Adam Aijala. Think of describing a Beethoven symphony in 300 words. There is much here that is intriguing and much to be admired and praised.
What is not much here is bluegrass—not traditional bluegrass anyway. Three of the tracks do, however, skirt the boundaries. "The Seagull" is perhaps more of an Irish reel, but "Bluegrass Schlep" comes across with a modernistic "Heavy Traffic Ahead" bounce and an updated Monroeish mandolin, while the quicktempoed "The Rise" has a straight chop and a newgrass breakdown feel. Jazz and classical elements dominate the rest. There's a bit of Tom Waits in the intro to Astor Piazzola's "Todo Buenos Aires," which then melts into contemporary jazz lines and ensemble work over percussive rhythm and an insistant bass figure. "Cutenik" (the album's closer) by contrast is more of a classical lullaby for bass, glissando violin, and arpeggiated banjo.

Between those bookends is "In The American West," a threemovement portrait inspired by the photography of Richard Avedon and presented in a modern classical form. Each movement focuses on a different town in Avedons photographic series. How well the music evokes the photos, I can't say, not having seen the works, but as with tone poems of all sorts, it's ultimately the music and what you get from it that counts, and in this case, it counts for much. This is an album that intrigues, entertains, and reveals more of itself with each play.