Their shortest at just over 40 minutes, Feelin Kinda Free received fairly positive reviews for its eclectic sound and Liddiard's darker, more politically-charged lyricism.

[14]The album, recorded in the band's studio in the Fitzroy North suburb of Melbourne, was mixed on the desk that was reportedly used by Nile Rodgers for Madonna's Like a Virgin.

"[19] Joe Whyte of Louder Than War noted the incorporation of "krautrock and even funk into the drums and bass although it’s no less unnerving than some of their earlier blizzards of guitar noise.

"[4][10] The "greater variation and eclecticism" in the band's use of Fiona Kitschin's backing vocals (more prominently present on this album) have earned comparisons to that of CocoRosie.

[20] The music overall has earned comparisons to older Australian post-punk bands such as Pel Mel, Sardine v and Laughing Clowns,[4][10] while Mojo likened it to a "Gibby Haynes-fronted Bongwater.

"[21] The opener "Private Execution" "starts with a familiar cacophony of guitar noise"[19] that "suggests Muse by way of King Crimson"[5] and features "guttural bass lines".

[18] The song has been described as "industrial, Sigur Ros-ian post-rock",[18] and the guitars during its ending climax earned comparisons to the "Sicilian strings" from The Godfather soundtrack.

[5] The lyrics to "Then They Came For Me" references the poem "First they came..." by Martin Niemöller[24] and deals with the subject of immigration from the point of view of a refugee[4] whilst the music has been described as "idiosyncratic"[19] and "anti-anthemic".

[14] "To Think That I Once Loved You" is "an achingly sad ballad that skilfully treads the line between gentle and unnerving without a misstep"[18] that has been musically described as "icy, downtempo electronica".

[14] "Boredom" has been described as being hip hop-influenced[18][25] with lyrics that "(name-drop) welfare states and Islamic caliphates, prophecising the imminent death of the 'cradle of civilisation' – the Middle East" as well as "describing the drivers of young people joining terrorist organisations, specifically IS" from the perspective of a Muslim teenager living in the Western Suburbs (according to The Monthly, the track is "partly told from the viewpoint of Jake Bilardi [...]"[27]).

[10] The song "Sometimes", featuring lead vocals from Fiona Kitschin, has been described as the "hypothetical missing link between Massive Attack and FKA Twigs",[25] with lyrics that critique modern consumer culture.

[29] The closing track "Shut Down SETI" refers to the search for extraterrestrial intelligence in its title and lyrically explores "human savagery from the perspective of an extra terrestrial outsider"[18] as well as motivations of vanity and pride in the guise of "scientific curiosity" which is often used to justify such research.

[30] It has been musically described as ""Taman Shud"'s angrier, drunker older brother", with Liddiard and Kitschin's vocals contrasting to create a "two-pronged environment" that culminates in a "finale overture, as though drawing elements from every single prior track on the album.

"[31] Allmusic noted that the track, "with its surrealistic ranting, sudden stylistic shifts, and white squalls of dissonance, wouldn't have sounded out of place on David Bowie's Blackstar.

[10] According to Record Collector, the album "covers so much ground – musically, thematically, philosophically, politically – that it’s like a lifetime of experiences swirling inside your head simultaneously" calling it "important" in "a modern world ever more tailored to undemanding audiences and reduced attention spans".

[41] Allmusic was more reserved in its praise, writing that "(it's) certainly not an upbeat listen, nor are its myriad regional allusions easy to parse for non-Australians", despite calling it engaging "on a cerebral level that (is) consistently intoxicating, even at its most lethal.

[47][48][49] The song "Taman Shud" was covered by Laura Jean (who provides backing vocals on "To Think That I Once Loved You") both live and as a demo, the latter of which appeared on 2017's Thirty Days of Yes mixtape (featuring music from artists championing LGBT marriage equality in Australia).