[4]The Fader listed this among the best releases of the week, where critic Raphael Helfand stated that it works "more like an ellipsis—a slow transition into whatever lies beyond".

[5] The Guardian's Dave Simpson rated this release 3 out of 5 stars and praised producer Danny Boyle for being able to replicate "the analogue capabilities of Perry’s legendary Black Ark Studios to bring contemporary electronica to the great man’s inimitable dub rhythms and pronouncements".

[8] Editors at Pitchfork shortlisted this among seven albums to listen to for the week[9] and critic Ben Cardew rated this release a 5.9 out of 10, critiquing the production for having "the unfortunate effect of making Perry feel like a guest on his own record, his voice often buried low in the mix, where it battles in vain against ear-rinsing sonics".

[11] Writing for Resident Advisor, John-Paul Shriver critiqued that this "posthumous album falls far short of his legacy, muddled by overproduction and unnecessary guest appearances" and that "it's baffling to think that Perry suddenly would have wanted to explore synthwave, drum & bass, big beat and other subgenres".

[2] In Uncut, Louis Pattison scored this release a 5 out of 10, stating that it is "always a pleasure to hear Perry’s whimsical pronouncements on the mic... [b]ut the music is largely uninteresting".