[14] In the review for AllMusic, Timothy Monger described the album as being "Meticulously packed with lead and backing vocals in a variety of timbres, songs like the warbling harpsichord-ornamented "Better Sorry Than a Safe" and the sprawling and kooky refugee crisis commentary "Phantom of Aleppoville" show an intense artist operating at a full sprint down the crooked ginnels of his imagination.

"[6] Andy Gill, writing a review for The Independent regarded the music as classical and avant-garde with operatic delivery, pointing out that, I Tell A Fly won’t be to everyone’s taste--which in this era of increasing conformity may be its most valuable asset.

On I Tell a Fly, he offers stunning, stirring proof that his originality extends beyond his voice to his phrasing on every instrument he touches – piano, but also here, showcased to great effect, harpsichord and clavichord – as well as to arrangements and production.

"[14] In a less enthusiastic review for The Guardian, Alexis Petridis said that Clementine clearly has things to say about some important topics, and it’s hard not to think they might reach a wider audience if they were a little less obliquely presented.

Equally, there’s something laudable about an artist using their initial success not as a foundation for steady commercial growth but as leverage to get something like I Tell a Fly released and promoted by a major label.