The album features guest appearances from Abdu Ali, Helena Deland and Buzzy Lee, as well as additional vocals by Refined Sugar, Vegyn and Young Emoji.

It has a smoother and more melodic sound than its predecessor, employing uncommon song structures, extensive sampling, and a variety of vocal techniques such as rapping, screaming and singing, often in falsetto.

Thematically, the album is personal, introspective, and presented in a stream of consciousness form, touching on the Internet culture, prejudice, political issues and JPEGMafia's newfound fame.

All My Heroes Are Cornballs was promoted as a "disappointment" with videos released on the rapper's YouTube, along with two singles: "Jesus Forgive Me, I Am a Thot" and "Beta Male Strategies".

Upon release, All My Heroes Are Cornballs received widespread acclaim from critics, with many highlighting the humorous, sarcastic lyrical content, as well as praising its detailed and chaotic production; some of them deemed it superior to Veteran, and it was placed in numerous publications' year-end lists.

[13] "With vocals that quickly shift from gentle to vicious, the artist ... raps rapidly like a machine gun, with lyrics, couched in internet speak, that are often scathingly satirical ... over ugly, uneven beats, built around thick waves of distortion and screaming synths."

[26] Most critics have perceived the album as melodic and less abrasive than Veteran,[16][27][28][29] with JPEGMafia's high tenor[30] vocals ranging "from a goofy falsetto to a strained scream rap".

[15] JPEGMafia called it his "punk musical" and referred to it as vulnerable, introspective and his most personal album to date;[4][10][31] he has cited the Beach Boys' Smile, TLC's FanMail, Björk, Cam'ron, Everything but the Girl, Kanye West and Rick Rubin as influences.

[34] The album's opener, "Jesus Forgive Me, I Am a Thot", starts with noise of shattering glass and screaming people, and transitions into a "sickly soulful" guitar.

The song shifts to a punk rock-inspired instrumental midway through, using a percussive power chord with "gnarly" guitars and forceful drums, over which JPEGMafia screams his lines.

[33] "Rap Grow Old & Die x No Child Left Behind" references Bobby Brown and Michael Jackson to mock whitewashing in the music industry,[34] where he also sings about "the unfair cycle of society".

[34] "BasicBitchTearGas" is a short, dissonant skit-like pop song with "glitchy backing, stuttering acoustic guitar and manipulated vocals",[33] covering "No Scrubs", by TLC.

[30][42] The boastful track features guest vocals from Buzzy Lee and Abdu Ali, a prominent sound of fire[34][35] (from campfires which he had recorded in Hawaii[42]), a "cutesy" synth tune[34] and a vaporwave outro.

[7] The album closes with "Papi I Missed U", a "thesis statement" addressing racism, gun violence in the United States, as well as JPEGMafia's fame and criticism of his work.

[44][45] Post-release, JPEGMafia added two reaction videos to his "disappointed" playlist on YouTube; one featuring Denzel Curry,[‡ 3] alternately titled "Satisfied", and another with Slowthai and Kwes Darko.

[50] After shipping being delayed due to COVID-19 concerns,[51] the USB was revealed to be a deluxe edition of the album featuring bonus tracks and original mixes of songs that were left off the initial release.

[33] For The Line of Best Fit, Sam Higgins wrote that the album is "so questionable, unique and conflicted in its elements, that on first glance, it's uninviting and dissonant", but with an "undeniable quality" upon more concentrated listens.

[35] Alexander Robertson (robertsona) of Sputnikmusic thought that the album is a "monumental display of musical talent" and has the "signs of a true classic", commending its "daring attitude and commitment to odd sonic luxuries".

[19] HipHopDX's Josh Svetz presented the album as "challenging and uncompromising" and "a manifesto for the misunderstood", complimenting JPEGMafia's "insane production and brilliant engineering".

[32] This was echoed by Kieran Press-Reynolds's review for Highsnobiety, which says that JPEGMafia "nails the chaos of post-internet society", and that his writing is reminiscent to Virginia Woolf, "who felt overwhelmed by modernity and tried to describe it in the best way they could".