[2] Jesse Cataldo of Slant Magazine described the Kills's fourth album as "another mostly successful attempt to wrench effective material from a barebones method of hollow attitude and instrumental minimalism".

Masters of "a high-wire act" involving "a small bag of tricks shaken up a little differently each time", the Kills "write songs that are invariably concave structures, spacious echo chambers for lurching, fuzzed-out guitar and softly staccato talk-singing", keeping "drawing blood from this stone, readjusting and tweaking their formula", the reviewer expands.

According to Cataldo, "Starting with 2005's No Wow, the Kills have produced three almost skeletal meditations on the kind of black-hearted, fatalist sound originally fashioned by artists like Nick Cave.

Each has fiddled with the proportions of straightforward stomp and slinky ambience: No Wow was sharp and spindly, ruled by the unsettling tremor of its omnipresent drum machines; Midnight Boom was in some ways a step in an even sparser direction, full of empty spaces and off-kilter melodies; and Blood Pressures pushes back into more forceful territory, leaning on noise and distortion and dropping most pretenses of subtlety.

[25] The Skinny magazine's reviewer described it as "a leathery femme fatale massacre," and the band's "most ambitious and accomplished undertaking to date.

"[18] Rob Fearn of the Q magazine, speaking of "clear signs of progress" in the quality of the band's songwriting and calling the album's first single "Satellite" "an indie anthem in the making" still found some other bids for "maturity" less successful, mentioning "Wild Charms" (with Hince taking lead vocals) and Mosshart's ballad "The Last Goodbye" among less convincing tracks.