[7] They strove to create an album interesting enough to be enjoyed at home, divorced from nightlife and stimulants; they found that they kept adding musical elements to any attempt at a "regular" dance track.

"[16] Robert Christgau called the album "prog jungle," writing that Wales and Coxon "recontextualize drum 'n' bass's redolent lingo—its triple-time superdrum pitta-pat, its impossible deep tremblors that modulate whole power plants in repose—by subsuming densely frenetic techno cum dancehall in a witting synthesis of electronic composition and another of Wales's passions, On the Corner-era Miles Davis.

"[14] The New York Times said that the duo "merges strings and horns that sound as if they come from movie soundtracks with a beat that can fluidly change from a rapid-fire drum-machine roll to a conga rhythm.

"[18] The Atlanta Journal-Constitution determined that Spring Heel Jack "is equally an inheritor of punk's do-it-yourself aesthetic and 1950s 'exotica' auteur Les Baxter's distinctly mondo notions about mood music.

"[13] Rolling Stone stated: "Surrounding their break beats with a reverberating drone, Spring Heel sample sweeping strings, elastic saxophone, sitar, car horns, steel guitar, piano and trumpet, as well as cryptic, treated sounds, into a reverberating clamor that is equally tuneful and enigmatic.