It features several rappers and musicians also associated with from a diverse set of music scenes such as Kelela, Tink, Riko Dan, Maluca, Shawnna, 3D Na'Tee, Tim Vocals, and Ruff Sqwad members Dirty Danger, Prince Rapid, and Roachee.
"[7] The LP contains many signature aspects of the works of Qadiri and Nguzunguzu, including "hushed synthesizers, tropical percussion inflated with reverb and a sense of space that leaves the spotlight on the guest artists," wrote Andrew Ryce.
[8] As Crack Magazine categorized Future Brown, the group follows a hybrid of styles that "exists through a constant traffic of ideas but arrives [on the album] in the fashion that all things do in the online age: compressed, compact and finite.
"[9] Labeled by Colin Fitzgerald as "richly textured and cleanly mixed,"[3] the record has what some critics described as a futuristic science fiction sound[3][10] that is "counterpoint[ed]" by its lyrical content about partying, Killian Fox of The Observer wrote.
[7] The music follows a European electronica[13] fusion of multiple genres from a variety of nations and cultural backgrounds, including grime,[7][14] kuduro,[7] dancehall,[7] reggaeton,[7][14] drill,[7] bop,[7] footwork,[14] industrial noise,[3] bass,[14] and cumbia.
[18] A remix of "Wanna Party" featuring 3D Na'Tee, Future Brown's first release for Warp Records, was distributed on September 16, 2014 via streaming and issued to digital and vinyl formats on November 3.
[22] Described by the museum's official website as an "exercise in capitalist surrealism," the video "appropriate[s]" methods of advertising used by companies such as L’Oreal and Revlon[21] as a way to commentate on fake standards set by beauty product commercials.
"[34] Slingerland wrote that the album's musical variety "gives the record's impressive roster of vocalists plenty of space to work with, ranging from the smoothest of soul singers to the sharpest emcees," also writing that "the diversity of Future Brown never once feels overwhelming, making the trip through these sounds from a futuristic dance floor satisfying throughout.
"[8] Colin Fitzgerald stated in his review of the album, "Unlike most supergroups of years past, Future Brown fulfill all the criteria for success: originality, intellectual and commercial value, and a healthy predilection for the familiar.
"[3] The Guardian claimed that the featured artists "display an intensity and character that is absent from the music," summarizing, "Every track on Future Brown is expertly constructed and polished, but rather than an exhilarating modern collaboration, it sounds like a curated exhibition.
"[16] Fitzgerald described the musical content as "the manifestation of our post-modern obsession with a universal social uplink, a record prophetic of a global future where world cultures converge and evolve as one, thereby representing the progressive ideals of contemporary life.
"[15] He criticized the instrumentals for being "weirdly detached, uncanny-valley version[s]" of these styles: "[Future Brown's] relationship to both these genres and the guest appearances brought into the fold is a top-down one rather than ground-level; no wonder these beats sound so pristinely lofty juxtaposed with their vocals.
"[15] He also battered the quartet for using art school-level ideas to gain a huge amount of attention from the press, given that the LP's featured artists had been receiving far less popularity: " This is both telling with regards to issues of class and privilege, and also an immense shame.
"[13] Tim Wilson of The Ransom Note, on the other hand, stated that while the modern art associations with Future Brown were "unavoidable," an album "should be judged on its own merits and underpinnings, not past or peripheral ones.
"[37] Wilson stated Future Brown were not entirely to blame for their appropriated representations of other styles, nor for the lack of success of the featured artists: "The collective have previously revealed that the project comes with no manifesto and all of the collaborations were conducted in a studio.
"[37] Because Red Bull Music Academy had a long previous history of promoting members from Future Brown, the publication had to remove Macpherson's review from the website by having the link for it redirect to a positive interview with the group.
So while most editors and writers would love to write as bluntly as possible about the music they cover, the truth is that the health of every magazine and website depends, to varying degrees, on which artists—and PR firms and labels—feel comfortable enough with your coverage to continue to play ball.