[10] In terms of the artistic direction for Head First, Goldfrapp described the process as "very nasty";[10] EMI had pressured them to create a more commercial sound which was at odds with their plans for the record and their image.

"[12] In discussing re-signing with Mute after its separation from EMI, Goldfrapp expressed pleasure in their independence "and a new management who are on our side, they're not trying to make a quick buck" and that "it did feel like a new start... 'we're going to do what we want to do'.

[14] Heather Phares of AllMusic stated that the album "proves that Goldfrapp's skill at adopting and fully embodying different styles is what makes them distinctive, not necessarily one signature sound", while noting the influence of Giorgio Moroder, ABBA and Xanadu-era Olivia Newton-John.

[15] Leah Greenblatt of Entertainment Weekly wrote that "Head First sounds as if [Goldfrapp have] been commissioned to paint the inside of Olivia Newton-John's mind, circa 1980: all strobe-lit synths, feathery vocals, and goofy synonyms for sex.

"[23] At Spin, Lindsey Thomas commented that "Will Gregory creates a pitch-perfect neon-lit '80s wonderland with Hi-NRG bass lines and plenty of that fat synth sound made famous by Van Halen's 'Jump.

'"[21] Sal Cinquemani of Slant Magazine opined that "Head First is a brief trip, but it's saturated with enough hi-NRG motifs and sounds for countless sweaty workouts at Jack LaLanne.

"[18] Barry Nicolson of NME commented, "Once the source of pop inspiration, now it seems they're content to follow", concluding that the album is "basically an upbeat electro-pop record with one foot in the '80s, much like roughly 85 per cent of music made in the last two years.

"[1] Kitty Empire of The Observer agreed, stating, "Having pre-empted the wave of womanly electro, they appear now to be behind rather than ahead of the curve", while calling the album "decent but unsurprising".