[3] Each track name was taken from Sir Francis Bacon's unfinished novel New Atlantis,[2] a segment of which was framed in the workshop by late member Daphne Oram for being a "morale booster".

[6] Ioan of Louder Than War was impressed and perplexed by "the width and breadth of experimentation and ability to take oneself off to different planes" across the record, and deemed the workshop to be "truly pioneers of soundscapes and effects, and everyone else simply paddles in their wake.

"[8] The Quietus writer Euan Andrews wrote that the album "chimes with a clarity and freshness reminiscent of Cluster at their most benevolently aqueous and formless", and wrote that the record's filtered ambient waves, broken piano patterns and David Gilmour-esque guitar wails "are clearly intended to demonstrate the Workshop's abilities once freed from their duty as public servants to provide memorable themes.

[7] Joe Rivers of Clash wrote that the album's suites bear "a touching humanity", but considered the record hard "to get your teeth into" and questioned its place in the Workshop's legacy.

He added: "As a musique concrète or experimental electronica album, Burials in Several Earths is an above average attempt that contains myriad intricacies and points of interest.