Lennox sang harmony vocals in The Tourists and played a Vox keyboard that once belonged to John Lennon while Stewart served as the band's guitarist.

Lennox first encountered Burke playing Blondie's Autoamerican at a New York club and successfully convinced him to accompany them to Germany for the recording sessions.

On In the Garden, Conny Plank and Holger Czukay from Can and Jaki [Liebezeit] would teach me to just record all different kind of sounds and mix them into the actual track—and even if you can't identify them, the whole track comes alive.

[18]Stewart's interest in found sounds manifested in the atmospheric playground noises in "English Summer" and what Nick DeRiso of Ultimate Classic Rock describe as "weirdly disembodied voices" in "All the Young People".

"[22] For the album's accompanying tour, the band decided to forgo amplifiers and instead connected their equipment into a mixing console situated onstage adjacent to the drummer.

Stewart compared the setup to a "giant HI-FI turned up" and noted that the audio quality was a source of confusion for certain audience members, who incorrectly believed that the band was miming their parts due to the lack of unwanted noise emanating from the speakers.

[24] In a favourable review in Smash Hits magazine, Tim de Lisle commented "The ex-Tourists pack their bags and leave the safe pastures of pure English pop for the electronic delights of Cologne and superstar producer Connie Plank.

Empowering it all are Lennox’s captivating, flexible but strong vocals and a commitment and humor that turn potentially pretentious material into unaffected, poetic work.

"[29] Barry Walters of Spin Alternative Record Guide (1995) writes that In the Garden "updates British guitar-based psychedelia with German electronics" with members of Can, Blondie and industrial dance pioneers Deutsch Amerikanische Freundschaft, "names that say everything you need to know about the duo's early ambitions.

"[21] In The Encyclopedia of Popular Music (1997), Colin Larkin named it "a rigidly electronic sounding album, very Germanic, haunting and cold.

The magazine write that Conny Plank's experimentalism "coaxes gutsy post-punk material from the duo; Stewart’s heavy guitar on 'Belinda' recalls the razorcut riffing of Keith Levene's work on PiL's 'Public Image' single.

"[4] Simon Reynolds writes that, after "briefly flirting with the experimental vanguard" on In the Garden, Eurythmics subsequently moved in a New Pop direction.

[30] All tracks are written by Annie Lennox and David A. Stewart, except "English Summer" and "Caveman Head" co-written by Roger Pomphrey