[7] Giving a review of the released on behalf of Crack Magazine, Gunseli Yalcinyaka said, "Set to a backdrop of organic harp chords and pillowy vocals, Drewchin manipulates her musical landscape with arrhythmic melodies and tripped-out beats which come together to form her unique sound.

At times, this record can feel uncomfortable, with its abundance of vocal falsettos and staccato synths, but it is in this discomfort that IRISIRI reveals itself.

noted the release has "an evolving, extra-sensory shadow show replete with mutant classical music tropes, fractured electronic viscera, the dying gasps of a forgotten operating system, and an unmatched voice that veers between honey sweetness and contorted glossolalia.

"[3] Naming it among the best albums of early 2018, PopMatters reviewer Spyros Statis wrote: "Using a collage of sounds technique, Drewchin has produced an act that is hard to categorize.

Electronic compositions meet noise injections, while her chameleonic vocal delivery enhances classical renditions.