[6] At musicOMH, Martin Headon wrote that "there's more than enough here to establish Ryder-Jones as a serious solo artist – all it needs is one more notch on the self-confidence dial, and that potential could translate into astounding results.

"[8] This Is Fake DIY's Johnny Owen told that "while his vocal delivery sounds as though he’s having to force each word out through cracked lips at the end of a long night, the accompanying music fits perfectly" because it contains "a certain world-worn raggedness.

"[10] Dean Van Nguyen of Pitchork wrote that Ryder-Jones "vocal is dulled and rasping throughout, and the songs never blossom like those on If..., seemingly hamstrung by his limited range.

"[11] At the Metro, Amy Rose Dawson felt that the album "showcase[s] [...] more conventional songwriting in the indie folk vein, big on delicate guitar strumming and pretty piano chords.

"[3] Headon felt that Ryder-Jones "skills as an songwriter and arranger are clearly evident – each song builds with subtlety and restraint, and there’s a neat rhythmic twist halfway through Anthony & Owen that brings his former band to mind.

"[7] Owen told that Ryder-Jones "resides firmly in singer-songwriter territory, occupying a space somewhere between fellow Domino alumni Elliott Smith and Bill Callahan.

"[6] At Mojo, Lois Wilson highlighted that "the resulting songs [...] [are] beautifully built around guitar, piano, drums and strings [...] [and] are as their psycho-geography would suggest, intimate autobiographies, about ruined relationships.

"[13] At musicOMH, Martin Headon alluded to how the release is "an intriguing prospect" that is "a brave album [...] predictably melancholy and unassuming, perhaps, but also highly accomplished and sometimes deeply affecting.

"[11] At the Metro, Amy Rose Dawson evoked that the release "provides some momentary oomph [...] but this is ultimately music for those who find the likes of Damien Rice over-stimulating.