[5] Priya Elan of the NME called the album "brilliant" and wrote that "just like Lou Reed with Nico and Serge Gainsbourg with Brigitte Bardot, Sitek has effortlessly translated Johansson's magnetism on to record", while comparing her "deep" voice to "latter-day Ronnie Spector's street-savvy tone".

[10] The Observer's Barney Hoskyns commented that Johansson's "blankly androgynous alto timbre is nothing special, but that barely matters", praising the album as "a bravely eccentric selection and a captivating homage to a singular writer".

[11] The Guardian's Dorian Lynskey described Johansson's voice as "a supple, languid instrument offering hints of Nico, Kim Deal and Martina Topley-Bird" and stated, "You might wish there was more from Waits' 70s barfly period [...] but it's a measure of this album's surprising allure that you're left wanting more.

[15] Chris Willman of Entertainment Weekly remarked, "In burying Johansson's vocals so deeply in the druggy ambiance, producer David Andrew Sitek [...] means well but ends up obscuring Waits' great tunes.

[13] Dave Hughes of Slant Magazine expressed that Johansson is "neither a particularly interesting nor a particularly skillful singer, and she spends much of the record locked into a sub-Nico hum that's quite a bit less charismatic than her husky line readings might suggest.