[3] Dave Simpson of The Guardian gave note of the "pensive, thought-provoking sadness" throughout the record's production, highlighting the melodies as being reminiscent of the "dark, inverted negative[s]" synthpop of the Human League and the "minimal pianos and bare clonks" having a mixture of Keith Jarrett and Spooky that's "somewhere between dubstep and contemporary classical", concluding with, "But however you define it, its beautiful atmosphere of sadness and decay is hard to deny.

"[8] Randall Roberts of the Los Angeles Times said that, "Each of the thousands of individual beats, bumps, dots and dashes on Dedication sound forged with a sculptor's eye for form and shape, crafted and shined until they glisten.

"[9] Alex Young of Consequence of Sound felt that "this latest offering from the spectral producer proves much more enduring a record than he seemed capable of a couple of years back and one that makes as solid a case as is imaginable for integrating dubstep into the mainstream as one of the genre's first great releases on a label not named Hyperdub or NinjaTune.

"[14] Mark Davison, writing for No Ripcord, said, "Zomby may have the potential to be the most brilliant, versatile British electronic musician since Richard D. James, but his distant, maverick act does him few favours here – what he needed was somebody to sit him down and tell him to focus on one idea at a time.

The magazine's writer Michaelangelo Matos said that "Dedication has plenty of bang in its back end, but its early, slower tracks are what lodge in your mind's ear, whether it's Zomby cutting a Russian pop singer into haunted phenomes on "Natalia's Song" or Panda Bear crooning over the squiggly skank of "Things Fall Apart.