A press release described Peñate's time away as being spent "indulging in mind-expanding ritual, studying writers and poets like Hesse, Rilke and Huxley alike and looking to mysticism and mythology for answers" that inspired the "semi-religious experience" of the album.

Edelstone found the album to be "meticulous" with "dreamy and frequently cathartic soundscapes" that sound as if Peñate "spent years perfecting these 10 songs", making "the wait [...] worth it".

[3] Writing for AllMusic, Marcy Donelson opined that the producers Peñate worked with on the record "significantly update his sound, opting for more expansive, choir-fortified arrangements and sleek electronics, bringing him into the home-studio era of electro-pop" and that it "marks an ambitious return for the long-absent musician, one that ultimately rewards with musicality".

[2] Reviewing the album for The Arts Desk, Asya Draganova thought Peñate had "very audibly moved away from his original playful, naïve indie rock sound which led to his early success" and found it to be a "clear indication of a journey of learning in artistic self-sufficiency: singing, songwriting, production, and musicianship".

[13] David Smyth of the Evening Standard called the 10 songs an "eclectic, ambitious bunch" on which "Peñate is working hard, pushing his unremarkable voice to the point of distortion in places" and that while "nice to see him in action again", "whether most will remember him fondly enough to care is another matter".