[4] With Confield, the duo largely abandoned the ambient and melodic styles of their earlier works such as Amber and Tri Repetae in favour of more chaotic and abstract sound palettes.

[1] As their style grew more experimental, Confield and their later albums would see the use of software like Max to form the basis of songs rather than physical synthesisers.

[8][7] Brown and Booth later noted the use of something called "the system" while making their music; a large network of synthesisers and other digital processes.

[9] The duo have also stated in interviews that the music created by this system is not entirely random, and still requires human control to guide and change tracks.

[3] In a retrospective review of Tri Repetae for The Quietus, Gary Suarez noted how the album treated melodies like "bitter foes", with sounds being timestretched and manipulated.

[6] Louise Bradbury of OffBeat noted how melodies "took secondseat" with Confield, with sweeping percussive elements being the main focus of the album.

[16] Pascal Wyse of The Guardian commented on the "strange sampled snoring" of "Uviol" and the melodies resembling voices on "Lentic Cathachresis".

[14] Tony Naylor of NME gave Confield an 8 out of 10, stating the release was not "emotionally detached" and calling it both "biologically warm" and imaginative.

[20] Sisario mentioned the "crunching, robotic rhythms" and "clean, spacey melodies" of Confield and Draft 7.30, but also noted how newer Autechre releases maintained a sense of "mind-numbing sameness".

[11] Pascal Wyse of The Guardian gave the album three stars, concluding that the release was overly robotic and comparing it to information overload.