Pitchfork's Lindsay Zoladz noted the album has an "eccentric, dreamy sound, which draws upon everything from dubstep to disco, Eastern music to 1990s R&B", adding, "Despite its modest production values and relative simplicity, it's a cohesive, enchanting, and surprisingly assured debut."

Zoladz goes on to opine that "perhaps Geidi Primes’s greatest virtue is its resourcefulness", stating that it "excels at crafting evocative moods from deceivingly simple sonic materials and song structures".

In conclusion, Zoladz stated that "Geidi Primes shows that even her earliest recordings displayed a distinct point of view and an oddly mesmerizing quality [...] a dreamy soundscape that invites an escape from the glitchy universe, a brief provocation to let go and just bliss out.

"[3] Siobhán Kane of Consequence described "Caladan" as "almost tribal in conceit"; praised "Rosa" for its "sweet, soft voice coos, soaring around staccato-like percussion"; stated "Venus in Fleurs" brings to mind "a darkly lit underworld that sounds like someone breathing ice".

[6] Thomas A Ward of the NME viewed the album as "an instantly accessible and intimate listen", commending Grimes for her "chameleonic approach" to the genres of the record.