"[2] Similarly, The Daily Telegraph critic Bernadette McNulty dubs the music "d-i-s-c-o in its seventies glory" into which "Butler weaves [...] fractured Chicago house beats and pulsing synths," going on to refer to the overall style of the album as "a tableau of beautiful, dysphoric disco visions.

Not the camp glitterball retro electro-pop of Kylie circa 'Spinning Round', but actual underground disco, like something long-lost from the vaults of The Loft or the Paradise Garage, real 1977–78 vintage stuff.

It clips along weightlessly; all disco bass, trumpets and rippling synthesiser, as Anohni, his voice like tears rolling down the cheeks of a beautiful 40-year-old woman, muses intoxicatingly on lost innocence and ageing."

[21] Paul Flynn of The Observer awarded the album a maximum five stars, commenting that it "concentrates on the musicality of the [disco] genre and leaves the cliches for dust," adding "it is as sweaty, raw and meaningful as the first 12-inch singles that were spun at NY lofts.

"[14] The Guardian critic Alexis Petridis was slightly more skeptical, finding the album's first side to be "tremendous fun", but - as a result of its being confined to genre revivalism - to possess "an air of pointlessness".

However, he deemed the inclusion of Hegarty's melancholic vocals in the disco setting to be "inspired," and praised the album's "far more inventive second half [,as] its atmosphere shifts from touchy-feely warmth to queasy unease to deep melancholy, as if the authors keep being jolted from their nostalgic musical reverie by the thought of how horribly it all ended.