"Erik Ian Walker's discreet sound score and Jack Carpenter's evocative lighting design were gleaming assets."
Allan Ulrich, San Franciscan Examiner

   "Erik Ian Walker's sound score was ever so delicate and subtle, with snippets of a tinkling piano tune or the sound of a faraway, festive harmonica extending the memory space into another dimension. Architect Stanley Saitowitz's partial raft that became a swimming pool, effectively lit by Jack Carpenter, worked well, although it wasn't quite clear why the stage apron had to be extended into the audience. It was used little, and then not in a particularly telling manner.
—Rita Felciano, Bay Guardian

   "The music is wonderful.
Erik Ian Walker is the composer. He did a great job. We met and talked and I tried to explain that I was getting at and the kind of moods I wanted to create. I played him different pieces of music, and then I chose various cuts in video form and gave them to him over a period of two years.
   Yeah. It's not like I made the film and brought him in at the end. Almost from the very beginning I got him involved because I felt I needed music to work with in editing. I wated to play a lot with the music. The beauty of working with a composer was also that he could match what I edited, it could be tailored to the imagery which is really nice. The last two or three months he was invoved in a very major way. It was really a neat collaboration."

—Daven Gee, Release Print interview with Jay Rosenblatt of The Smell of Burning Ants

   "The tone of Burning Ants, is overwhelmingly bitter. The music by Erik Ian Walker — frantic violins against close-ups of black ants; sinister chords reminiscent of Hitchcock or Dario Argento creeping below images of a baby's umbilical cord being cut — keeps the edges sharp and disturbing."
Kurt Wolff, Bay Guardian

   "The score's syncopated rhythms and horn-blown melodies sweep the dancers into a unison choreographic ceremony. I liked the way Erik Ian Walker's score highlights the moods of the dance, more like an effective film soundtrack than one integrated piece of music. Because Goode's work is so theatrical in development, the score's changing emphasis is appropriate."
Katia Noyes, The Sentinel