[23] An interview with vocalist Marisa Dabice in The Fader, David Renshaw called this an "excellent" exploration of aging and a "collection of songs that rage and soothe in equal measure".

[13] Hayden Merrick of Loud and Quiet rated this album an 8 out of 10, writing that the band "has never sounded so red-hot and dynamic" due to John Congleton's production and characterized this as "a record acutely focused on impermanence".

[9] John Murphy of musicOMH scored this album 4 out of 5 stars, writing that it "never overstays its welcome" with "thrillingly visceral music that could bring Mannequin Pussy ever closer to crossover success".

[25] In a profile for The New York Times, critic Marissa Lorusso called this music "10 tracks of defiant punk, buoyant power-pop and fuzzed-out rock anchored by [vocalist Marisa] Dabice's bold, often confrontational lyrics".

[18] Slant Magazine's Nick Seip gave this release 4 out of 5 stars for being "a balance of firebrand punk and intoxicating power pop" and "a musical expression of self-governance and all the pain and pleasure that comes with it".

[17] Spin's Matthew Neale scored I Got Heaven a B+, stating that some of the "diaristic... lovelorn charisma" in the band's previous music has been lost, but this is "a formidable document of their fire and fury—and one that's needed more than ever".

[32] A review of the best albums of the first quarter of 2024 by BrooklynVegan saw Andrew Sacher calling this work "a record inspired by living with your loneliness and solitude and really getting to know yourself, and all the ups and downs and indecisiveness and contradictions that come along with that".

[37] A June 3 roundup of the best albums of the year in Spin included I Got Heaven where Josh Chesler called it the band's "most diverse, complicated, messy and (arguably) meaningful" work.

[41] At Stereogum, Tom Breihan called the track "a revved-up anthem that moves from stomp-scream fuzz-rock fury to twinkly shoegaze melody and back again" and compared its lyrics to Patti Smith.