[5] Tal Rosenberg of Pitchfork felt that "the singing isn't straightforwardly melodic; it's just one more textural layer in smoothly reverberating sound design that's full of arcing synth notes, periodic pings and chimes, and shimmering background tones.

[4] Sophie Harris of The Guardian noted that "these are songs rather than ambient pieces, and Eno's voice is deeper now and more commanding, even as it ripples with anger, regret – flashing like a chameleon's skin in flux".

[8] James Mellen of Clash called it "a record generated from, in its purest form, feelings", with a "steady balance of electronica and organic sounds; Baroque motifs are scattered throughout, along with almost hymn-style vocal work".

[6] Reviewing the album for Slant Magazine, Paul Attard opined that while its "intentions are certainly noble, and its overall assessment of the state of things is, sadly, on point, the album is hampered by Eno's overly didactic messaging", writing that at times, "the songwriting feels counterintuitive to Eno's elegant musicianship".

[9] For the album's Forever Voiceless edition, Christopher J. Lee of PopMatters called the absence of Eno's voice "something of an improvement" as they "ruin the ambiance" and, despite his good intentions, they have a "plangent quality that, against his signature backdrop of electronic instrumentation, assumes a God-like quality, as if Eno is a New Age shaman dispensing prophecies and other divine insights".