The EP pulls from many genres, as Glaive was focused on making music that he liked and wanted to move away from his previous hyperpop sound.

Production was handled by a variety of record producers, including Travis Barker, Jasper Harris, Nick Mira, and Whethan.

[1] It gained him a global fanbase[2] and received widespread critical acclaim;[3] The Fader's Alex Robert Ross said it positioned Glaive as "the most promising kid in pop music" and called him "a naturally gifted songwriter".

[18] Ross called the EP "hooky, but deft" and said that it pulls from genres such as "Midwest emo, arena pop, and SoundCloud rap".

[13] "I Wanna Slam My Head Against the Wall", a song about declining serotonin levels and Glaive's crush that loves alcohol,[21] contains frenetic[12] and maximalist hyperpop production.

[22] Gray wrote that it's "deceptively chipper," while Sophie Leigh Walker of The Line of Best Fit said it's "all sunshine and rainbows on the surface" and conceals "universal angst".

[21] The New York Times's Jon Caramanica wrote that the track "tilts between breathability and gasping," contains "squirrelly production", and called its lyrics "sweetly sung agony".

[2] The penultimate track "Bastard" begins with a guitar progression and transitions to a beat drop as xylophone notes support Glaive's "raging post-breakup emotions".

[24] Glaive announced All Dogs Go to Heaven alongside the release of its lead single "I Wanna Slam My Head Against the Wall" and its music video on March 17.

[28] In a perfect review for NME, Ben Jolley wrote that the EP "is a huge step up" for Glaive, showcases "genuine depth to his songwriting", and "proves that his appeal will soon transcend the relatively niche hyperpop scene".

[12] In a lukewarm review for Pitchfork, Julia Gray wrote that Glaive's natural talent is hidden under "amorphous" production and said the EP is "polished, near spotless, and that's the problem".