Baird co-produced the album with her partner and Heron Oblivion bandmate Charlie Saufley and recorded most of it before March 2020, with the gap between this and its release being credited to "production delays".

[2] Clash's Robin Murray described it as "the work of an artist who thoroughly rewards the listener's patience, an atmospheric yet impeccably detailed selection of haunting songcraft".

[9] AllMusic's Fred Thomas called it "a self-produced affair on which Baird plays almost every instrument and often tries on styles, sounds, and arrangements that are new to her" as well as "evenly paced and free-flowing throughout".

[3] Steven Johnson of MusicOMH stated that "amid the astral and languorous textures there are hints here however at greater depth and more expansive arrangements" than on Furling's previous solo album, Don't Weigh Down the Light (2015).

[6] Phil Mongredien of The Observer felt that it was "well worth the long wait, in large part because the realisation of these songs feels more expansive than her earlier, more pared-back work, with Mellotron, synths – even drums – appearing alongside the more familiar acoustic guitar".