The band approached Joe Reinhart of Algernon Cadwallader, who Quinlan had met through the Philadelphia basement show scene, to produce the album.

[28] The staff of Spin magazine have assessed that Hop Along "straddle several genres" and ratified "it’s easy enough to file them away in indie rock without batting an eye".

[30] In congruence, Pitchfork said "Hop Along's energy comes from punk but their style is indebted to the romantic, middle-American indie of Bright Eyes and Rilo Kiley.

Gray of D Magazine stated that Hop Along "traffics in mid-tempo guitar jams, tender acoustic confessionals and buoyant, hook-driven indie pop".

[32] Grant Sharples of Alt Press said "although Hop Along have plenty of folksy tendencies, emo music sets the groundwork for the group’s songwriting".

Frances Quinlan's vocal melodies have been called "downright outrageous, with their tumbling runs, frenetic note jumps and jazzy inflections.

It scratches, strains, coos and bleats in a way that appears wild and unkempt, but conveying such specificity of emotion that means it couldn’t possibly be accidental.

"[39] Office Magazine said Quinlan's voice "wields a power that alludes to the strong women preceding her—the raspiness of Janis, the honesty of Fiona Apple and Alanis Morissette—yet is still impossible to define.

[43] Hop Along's songwriting process is a collaborative effort that involves Quinlan conceiving rough ideas for songs that are later developed and fleshed out by the rest of the band.