Excerpts from selected reviews:

"Very strange and fascinating, very personal and delicate, full of great imagination is what Jordanova sounds [like]."
--Jan de Kruijff, Musicalifeiten, Nethrelands

"INNERLAND by Stéphane Furic-Leibovici highlights the composer's fascinating unusual idiom."
--Jan de Kruijff, Musicalifeiten, Nethrelands

"I guess I always thought of harp as a delicate instrument suited for Debussy and played by long-haired pretty women. I had no idea it could be souped-up, amplified and multi-tracked, producing a blow-your-socks-off new sound—indeed a whole new realm of sound. Victoria Jordanova, originally from Yugoslavia, lives in America now and we are the richer for it, as she has single-handedly revised the script for harp and harp music. As performer, composer and curator, as well as producer of her own CD label, Jordanova is breaking new ground not only with the harp but with performance, improvisation and concert programming to boot."
--David Wolman, Fanfare Magazine

"An atmosphere achieved through research and conscious use of electro acoustic techniques in order to create sound spaces and dimensions yet unexplored."
--Fred Audin, Classique Info Disque

"Jordanova uses a variety of harps and swings their lofty or humusy properties through technologies of her choice, always shaping new realms of audio; never playing it safe, never retorting to clichés or down-home formulas or principles. She never lets tradition wear her down. On the contrary, she shakes all those gluey, sticky memories off. This is a rare quality, not least among contemporary and avant-garde artists, who oftentimes are the most traditional ones, sticking to and canonizing an avant-gardism that was in swing a few decades earlier, in the 1960s or -70s."
--Ingvar Loco Nordin, Sonoloco Revews

"This is an incredible album...unlike anything you've probably heard. It's one of the best things I've heard in a long while, and well worth discovering."
--David Toub, Sequenza21

"It is impossible to describe what 20 highly electronically manipulated harps sound like, but it certainly confounded my expectations...there is much delicacy here, fantastic detail, and sound combinations that are unique."
--Peter Burwasser, Fanfare Magazine

"I rarely get the sense of sheer beauty or spacious spiritual or physical realms when I listen to John Cage's music...It's often more of a witty practicality that comes to mind, or an auditive intellectualism with a quirky smile added in the corner of the mouth....but not this soaring beauty. That's why this music is so surprising, as it approaches in some kind of free fall, totally relaxed and yet powerful, like the orbit of the International Space Station as it keeps on falling and falling around the Earth..."
Ingvar Loco Nordin, Sonoloco Revews

"Cage's prophetically-titled Postcard from Heaven, a mesmerizing, roughly 40-minute 1982 composition scored for 20 harpists, receives its world premiere recording on this new disc from ArpaViva...Jordanova's approach has given the work new life and, in fact, the work does sound like a postcard from heaven written by John Cage."
--Frank J. Otery, NewMusicBox

"The "heaven" connection, with visions of spaced harpists playing without a coffee break for eternity, is half tongue-in-cheek. But only half. Victoria Jordanova does the harp honors, oscillating between a solo setting to rippling overdubs of 20 harps. Pamela Z supplies sustained and delayed sung tones, in what is a strangely cool and cooling listening experience."
--Josef Woodard, Notes on Film

"I hear polyphonic texture of various melodic parts, often in different rhythms, while other times I hear cascades of complex, ravishing chords. Jordanova performs with a wide range of sound quality and with the greatest devotion to the music's profound absence of dramatic rhetoric. She also adds Cage's ossia vocal part...beautifully performed by Pamela Z."
--Haskins, American Record Guide