Its intention is to reinterpret five musical genres through audio and visuals: juke, hip hop, dubstep, electronic tropicalia, and what the press release labeled as "‘90s Gregorian trance."

The visuals for the tracks were produced by Tabor Robak, Sophia Al-Maria, Ryan Trecartin, Rhett LaRue, Kamau Patton, and production company Thunder Horse.

[3] In categorizing the overall style of the music, Carrie Battan of Pitchfork explained that it "harnesses the eerie mysticism of WARN-U [...] but channels it into a percussive, neo-global club sound driven by an unexpectedly sinister synthetic steel drum.

[3][2] Kathleen Flood of The Creators Project stated that the music and visuals of Genre-Specific Xperience present the internet "as a multi-dimensional venue, underscoring the significance of working with found footage and how the act of collaborating and translating a theme or emotion through multiple mediums can resonate much deeper than streaming a SoundCloud track.

"[5] Both Patton and Qadiri also took into consideration the similarities between being in "solitary confinement in a spa" and being isolated from other humans in prison when making the track and visuals.

[6] "D-Medley"'s video was produced by Thunder Horse and, as Flood wrote, "explores the fantasy realm through culled YouTube footage of bodacious babes.

It's driven by a two-second loop of a Gregorian chant, and a journalist for The National wrote that it "traps the listener inside a video game-cum-hall of mirrors, a prism of sounds and melodies wherein beats and synth voices bounce and refract off each other.

"[3] She first listened to music of the style by artists such as Enigma[9] at the age of nine while riding from Kuwait to Bahrain and enjoyed it for its "cinematic and over-the-top" elements.

The incredible amount of mysticism behind it was deconstructed through the use of the video game aesthetic, which is very basic, very obvious, totally lacking in mystery – but still feeds into this notion of power and conspiracy.

"[9] As The National stated, "the video and music function as an uncloaking of theosophy, wittily and satirically revealing something rather childish about the demands of religious authority.

[4] As Reynaldo wrote about the EP for XLR8R, "it's rare than an artist can take a disparate list of genre influences—all of them heavily namechecked in various tastemaking circles—and distill them into anything resembling a cohesive, let alone quality, statement, but that's exactly what Al Qadiri has done.

"[7] In 2019, Pitchfork ranked the release at number 197 in their list of "The 200 Best Albums of the 2010s"; editor Julianne Escobedo Shepherd wrote: "Few documents of global music this decade were as interesting as [...] Genre-Specific Xperience, an icy, minimal exercise in translating and flattening microgenres—juke, dubstep, digital tropicália—into a cohesive statement that tied to her international upbringing and youth as a gamer.

[17] Dubbel Dutch made a remix of "Vatican Vibes" that consists of sounds that reference other genres; the E-mu Proteus flutes reference grime music, the snare sounds are borrowed from the soundtrack for the film Drumline (2002), and the "cut-time percussion" that plays during the breakdowns and end of the remix use zouk-and-tarracha-style rhythms.

"[17] However, he quickly changed his initial plan: "I found it really challenging to incorporate the lead melodies from Vatican Vibes mainly because the licks that Fatima wrote were so strong that I didn't want to fall into the trap of making a remix that sounded more like a bad edit of the original – so instead I tried to incorporate pieces of the melody into a new variation on the theme.