Club critic Chris Mincher stated: "Documenting that exploration, Holographic Violence sifts through various ’80s dark-wave styles in the hunt for worthy concepts, finding serviceable elements of goth-rock, post-punk, grunge, alt-metal, and industrial electronica.

"[4] AllMusic's Paul Simpson wrote: "While still dark and dingy, the relatively cleaner production brings the group closer to sounding like its '80s deathrock heroes, while the overly dramatic bent and tongue-in-cheek song titles like "Pain Iz Pleasure" recall a less metal, lower-budget version of Type O Negative."

Simpson also noted that "the group isn't stuck in the past (be it the goth '80s, the alt-metal '90s, or the late-2000s lo-fi cassette boom) by including a few up-to-date production effects, particularly the subtle influence of trap-style beats on the drum machine programming.

AllMusic's Paul Simpson wrote: "The overall result is a forward-looking album drawing from dark, foreboding sounds from the past, and it's a decent, spooky listen, if a bit hard to take seriously at times.

Club critic Chris Mincher commented: "Taking a more airy, atmospheric approach than its pummeling predecessors, Holographic Violence strives for melodic melancholy, yet can’t resist breaking out the occasional bright, shimmery hook or synth flourish"[4] The Irish Times's Tony Clayton-Lea stated: "Founding member Danny Wahlfeldt has taken it upon himself to tackle all of the songwriting, and while there are sci-fi concept themes here that are too oppressive if not ordinary (the usual unholy trinity of dystopia, nihilism and misanthropy), at least the music mostly makes up for it.