The extended play was inspired by brutalist architecture and several synthesizer-heavy modern classical and piano-only works that Silver listened to during the fall and winter of 2010–11, which were the "soundtrack" to how he felt "kind of uncertain” in those seasons.

Some reviewers highlighted the expansion of Silver's musical scope with the EP, while critics with more mixed opinions on the record felt it sounded too nice and lacked in having surprising or exciting moments.

In the fall and winter of 2010 and 2011, Michael Silver listened to several synthesizer-heavy modern classical and piano-only works by composers such as Frédéric Chopin, Glenn Gould, Philip Glass, and David Borden.

[9] This combination of the recording of a piano piece and visuals of brutalist architecture created the feeling of an "otherworldly and kind of sad" world that Silver wanted to explore.

"[11] Ryuichi Sakamoto’s album Playing the Piano (2009) as well as improvisational recordings by composers such as Alva Noto and Fennesz were the most influential works for Silver creating Exercises.

[9] The EP also garnered influence from the soundtracks of the National Film Board of Canada and tonal elements from Canadian animator Norman McLaren's sound work.

[6] Exercises was categorized by reviewer Puja Patel as a "dreamy indie flick scored by fuzzy synths and gorgeous piano recitals,"[12] while Worthington labeled it as a "pop perspective" of the synthesizer works of Oneohtrix Point Never and Emeralds.

[9] In a similar fashion to the LP Ravedeath, 1972 (2011) by Tim Hecker,[11] tracks on Exercises involve piano parts that slowly build, with other sounds such as unnoticeable drums and synthesizers also in the background of the mix on occasion.

[5] Set in a 94 time signature[5] and using dub rhythms,[17] it consists of what Shaw described as a Telefon Tel Aviv-style "clicking beat"[13] and what Silver labeled as "sprouting synth leads that come from either channel.

[18] The song was categorized by Marc Hogan of Pitchfork as a "post-Jamie xx bedroom-disco" cut,[19] while Tom Williams of FasterLouder compared it to the works of Aphex Twin.

"[5] Compared by Worthington to Glass' piece Glassworks,[11] it involves a progressive rock-style synthesized brass performing a fanfare over piano arpeggios[13] and a harsh synth bass a la the Emeralds LP Does It Look Like I'm Here?

[5] "Exercise #4 (Spirit)" was performed in improvisation and has a different palette of instruments in comparison to the EP's other tracks, including Yamaha DX7 sounds and pan flute samples.

Steve Shaw of Fact magazine wrote about the track, "as clicky mid-range keys amble daintily beneath, a butterflies-in-the-stomach sense of quiet excitement is drawn out by increasing vibrato and breathy shakuhachi/vox chord gestures.

[20] "Exercise #5 (September)" is a synthpop[19] "semi-cover" of the opening track on English singer-songwriter David Sylvian's album Secrets of the Beehive (1987)[5] that's quadruple the length of the original piano ballad.

[19] Silver called "Exercise #5 (September)" a "fully realized" track in terms of instrumentation, consisting of basses, syncopated, single-reed-like synthesizer lines, 2-step-rhythm percussion that include claps and woodblocks, staccato piano notes, and vocals.

[13] As Jaber Mohamed wrote about the song's feel, "its upbeat tones speak of nostalgia for an idealism that no longer exists and an optimism of the coming future.

[5] Recorded in December 2011, it's the most minimal cut on Exercises; its instrumentation includes a piano, slow-attack synth brasses performing harmonies in the style of the LP Amber (1994) by English duo Autechre, and a mid-octave synthesized bell counter-melody representing snow.

"[5] Categorized by Williams as a downtempo track in the style of the works of Jean Michel Jarre,[17] "Exercise #7 (Loss)" centers around a triple metre piano with sawtooth wave sounds and vibraphones that fade in and combine to a "cloud" around it, wrote Shaw.

[25] Putting in regard the "future-retro" feel of the architecture that influenced Exercises, Beck read the young adult novel The Giver (1993) to develop a dystopian viewpoint of brutalist buildings for the video.

"[18] As Kenny S. McGuane from Under the Radar wrote, "although it lacks the beat-oriented, build-and-release formula of his best work, Exercises is elegant, textured, and cerebral enough to be an excellent after-hours soundtrack.

"[11] Arwa Haider wrote in her review for Metro that the EP's "eight tracks appear subtle and unstrained, yet Exercises is carefully studded with so many beautiful details that it never feels insubstantial.

"[1] A writer for Filter magazine highlighted the instrumentation of the EP: "The chamber-piano infused into these eight experiments is sometimes utterly heartrending—those pulsating synthesizers sound like they could pump blood and breathe oxygen.

"[37] A Prefix magazine critic analyzed that while fans of CFCF's previous records may be turned off by the EP's style, it showcases Silver's "true" and "exciting" composition abilities.

"[14] Stephen Judge of Blurt magazine, while calling the EP "nice," felt that it "often fades so completely into the background, or one’s consciousness," which "could mean it’s being marketed in the wrong genre.