The press release for Classical Curves, published by Night Slugs in April 2012, detailed it as being 'a record that owes equal parts to Philly Club as it does to Laurie Anderson, The Neptunes as it does to Einstürzende Neubauten, Steve Poindexter as it does to the soft jazz leads of Pat Metheny.

Rory Gibb of The Quietus called it "one of the most interesting album-length listens to come from a UK club producer in a while, [...] a reminder that many sub-heavy dancefloors post-dubstep ought often to be demanding more for their money.

"[11] Fact magazine's Tom Lea said "Both Classical Curves and Girl Unit’s recent Club Rez feel like they could mark the start of a new stage for Night Slugs.

[14] Mike Powell of Pitchfork wrote that the music "achieves as much of its effect through silence as through sound: Between every beat, the space is so absolute and empty that getting to the next piece of solid ground is a kind of perpetual thrill.

In the two years since its release, a host of producers have attempted to replicate the album’s precision crafted, chrome-plated sound, and most have failed to even come close to evoking the singular vision put forth by Jack Latham on his debut.

"[17] Simon Reynolds discussed the album in his 2019 Pitchfork article on the rise of "conceptronica" in the 2010s, writing that the record's "glossily surface-oriented" sound made Jam City's polemic-focused concepts more striking.

"[18] Also in 2019, Crack Magazine ranked Classical Curves ninth in their list of "The top 100 albums of the decade"; contributor Oscar Henson wrote that the record inspired deconstructed club in the manner in which it isolates familiar ideas from their musical contexts and abstracts them "to form radical new structures".