One reviewer said the album was "a monumental homage to home, a sumptuous cavalier shot of bravado and experiment, which has undoubtedly assured the Peatbog Faeries individualism and taken them to the borders of lands unknown.

[11] The band noted that Couper "is always respectful of his native Shetland style and continues to look for new ways of playing exciting fiddle music in whatever guise you find him in.

[19] Jazz,[19] funk,[19] reggae[19] and dance music[19] influences "rub shoulders" with special effects and synths, tradition combines with visions, contemporary rocks along with heritage.

"[19] Simon Jones of Spiral Earth called the album "fusion", where "intuitive roots meet dance floor/house beats with no small amount of craft and guile over the top.

Their paths begin in Scots tradition the presence of fiddle, bagpipes and whistle never palls as the tracks lead them in myriad directions, sprinkling global colour and vibrancy all over the party.

"[20] According to David Kidman of Fatea Magazine, the absence of the band's previous brass section has "been the impetus for a fresh reappraisal of the exercise of group arrangement.

Resulting in a tighter, somehow more intimate balance of elements, albeit a less expansive overall sound but one which draws the listener into the groove and locks it on down till the needle hits the runout.

[22] "Angus & Joyce MacKay", dedicated by Morrison to his in-laws,[12] was described as being "more concerned with soundscapes and imagery than melody and dance" and as being "greatly enhanced" by Ross Couper's "soaring" fiddle.

"[12] Showing the "spookier side of expression",[19] it features "the various flavours that make up Peatbog Faeries; mix of pipes, electronics and flying fiddle solos, snake around a melody penned by nine year old Archie MacLean of Edinbane".

"[22] One reviewer said "Graeme Stafford's Hammond organ and Tom Salter’s forthright lead guitar are backed up by a solid drum and bass combination that would be at home on any Traffic album.

[6] For Blackhouse, "The Chatham Lassies" is reworked into an eight-minute composition that opens with the familiar and lively fiddle/acoustic guitar duet and skips along towards a more sedate pace, but with a full, rich sound.

[18] Another review observed its "electro griddle" which takes time to blip and bounce along a funk guitar line hyping the groove and low whistle echoing spookily.

Tim Carroll of FolkWorlds said the album is "at times inspiring, sometimes mysterious and at others disconcerting", adding "this is visceral music that digs itself deep under your skin.

"[25] Alan Morley of UK Folk Music said the album was "an amazing and delightful piece of work from a top band of adventurous musicians and record producers.

"[26] Neil McFadyen of Folk Radio said that "with Calum MacLean at the production desk again, we’re assured of that familiar, joyful affirmation that trad and trance is a marriage made in heaven; but that doesn’t mean it’s more of the same for Peatbog Faeries.

"[6] Simon Jones of Spiral Earth said that "Blackhouse is swagger and sweat, a monumental homage to home, a sumptuous cavalier shot of bravado and experiment, which has undoubtedly assured the Peatbog Faeries individualism and taken them to the borders of lands unknown.