[5] A highly favorable review came from Robert Ferguson of Drowned in Sound, who called the album "a cohesive, ambitious and thoughtfully-executed murky delight" and "A godsend of a record in these times of landfill indie".

[8] Andrew Perry of The Daily Telegraph gave it four out of five stars, writing that "Countless bands cite vintage German rock as an influence, but this lot actually sound out-there enough to justify comparison.

[9] Allmusic journalist Heather Phares, in her three-and-a-half star review, opined that "at their best BEAK> are fascinatingly dour, and willing to challenge listeners in unexpected ways",[6] while BBC Music writer Adam Kennedy found it "as eccentrically Bristolian as Aphex Twin’s works are Cornish or Mogwai’s are Scottish, with equally intrepid results", noting its "constant invention and genuine humanity characterising every whirr and warm glow".

[1] In more mixed reviews, Pitchfork Media's Jess Harvell described Beak "as full of odd, compulsive energy as you'd expect from something cranked out in two weeks, made by a guy who probably had creative fuel to burn, considering that his day job took 11 years between their second and third albums".

"[12] Ian Crichton of The Skinny opined it as "at times a little too familiar and static to fully lose oneself in": "at first feels exciting and accomplished, until the absolute adherence to well-worn formulas of taut motorik beats, Can basslines and ghost train organ drones begin to dull the edge.