[3] Produced by Tristan Shone of Author & Punisher and electronic musician Vytear, the album features contributions from Perturbator, as well as from Tool members Danny Carey and Justin Chancellor.

[2] Building upon Shone's custom-built instruments, the "dub" and "drone" machines, the album was co-produced by IDM musician Jason Begin, who also aided in mixing duties.

noted that "the pounding, dissonant industrial of Godflesh and Scorn is still prevalent in the mix, but now it’s augmented by the eerie Blade Runner synths of Vangelis and vintage Nine Inch Nails’ ability to make inhuman sonic surfaces sweat sex and sleaze.

"[8] Alex Deller of Metal Hammer noted that the expansion of sounds on Krüller "allow Shone to paint his bleak, mono-chromatic visions with ever more subtle shades of grey.

"[14] Writing for The Line of Best Fit, Kate Crudgington described the record as "a sonic purge that rages and recoils in equal measure, enhanced by collaboration, but with Shone remaining the master of ceremonies of his distinctive noise.

"[15] Brian Howe of Pitchfork wrote: "If Krüller is warmed by a nostalgic human past, it also bears the chill of a posthuman future where the machines grind on without us, an intimation that seeps from his music like a corrosive fluid and lends these songs a bitter, heroic weight.