Due to strong digital sales following the album's release, "Kyoto" and "Breakn' a Sweat" charted in multiple countries as well.

The Bangarang had sold 595,000 copies in the United States by March 2014,[11] and on July 11, 2016, it was certified gold by the Recording Industry Association of America (RIAA).

The first track, "Right In", has multiple influences of dubstep and electro house and has been described as "one long adrenaline rush of stabbing keyboard chords, sawed-off vocal samples and Skrillex's trademark: squirming, squalling synth lines".

It uses "chopped-up vocal hooks" performed by American rapper Sirah, with the last line of the song saying "I'm eating Fun Dip right now/Not givin' a fuck".

It has been described as combining "proggy guitar hooks, psychedelic organ chords, and Jim Morrison samples with a snarling, Prodigy-esque vocal and a filthy slab of dub bass".

[7][15] "Right on Time" has been described as "a percussive, hard house collaboration with 12th Planet and Kill the Noise which eventually builds into a feverish slice of happy hardcore",[7] and although it has been complimented for its uniqueness in comparison with the rest of the record, its use of repetition has been criticized.

[18] Dan LeRoy of Alternative Press felt that the album's "go-for-the-throat" songs and "uncomplicated, catchy fun" do not reveal "much about Skrillex's long-term prospects.

Club said that, although Skrillex is a "more skillful producer than his detractors give him credit for", he still resorts to "gimmicks" in order to reach his audience.

[13] In a positive review for MSN Music, Robert Christgau called Bangarang an "electronical vista" and said it is "a pop record because its shamelessly hedonistic barrage of proven dancefloor tricks will obviously be more fun at home than in a club.

"[20] August Brown of the Los Angeles Times felt that, although Skrillex continues his "singular, manic sound", the "quick" tracks that defined his previous work are "more skillful and sonically intriguing".

[19] Ben Rayner of the Toronto Star found it "far smarter than Skrillex's reputation for doling out cheap, bludgeoning bass-bin thrills would let on", and wrote that it displays "a remarkable gift for bending innumerable breeds of club music to his will".