[14][15] Tiny Mix Tapes writer Birkut analysed Stott's works employ neo-futuristic themes and are hard to label in specific genres because they are "shifting disfiguration of Detroit techno, grime, house, and industrial music.

"[17] An Electronic Beats review of Luxury Problems described its sounds as presenting "the beautifully decayed aura of concrete and chrome, halogen and grime—the soul of a heaving, monstrous city at twilight, equal (yet often struggling) parts fragile light and enclosing darkness.

"[18] Writing a PopMatters article about Too Many Voices, Alex Franquelli wrote that "patches of comfort" are included for the "sole purpose of creating an imbalance that makes the darker elements stand out and shine in all their misty glare.

"[19] Reed Scott Reid's review of Luxury Problems for Tiny Mix Tapes analyse it "represents an apogee of scruffy elegance, curdled rhythms growling within the crumbling masonry of its bitworn shunt.

"[20] He wrote the vocals "dimly illuminate a pervasive auroral gloom, shafts of ecru and dun mottled with putrescent tinctures; a mournful, angelic presence – a long-deceased sacristan, perhaps – bleeding through the aether as faint drumsteps crack gravel.