[2] Many of the sounds, including a typewriter and banging the inside of a French horn, on the album were pre-recorded from as far back as 1979.

Jon Pareles of The New York Times wrote that the "songs are about desire and estrangement" comparing them to "cabaret chansons".

He noted her voice was only "modest in range and expressiveness" and closed by opining that the music "opens the door into its sonic reveries".

[5] Justin Kleinfeld of CMJ New Music Report wrote that the album was "full of risks and inventions" and that she "stepped out of Matthew Herbert's shadow, and is starting to cast a rather large one of her own".

[6] Andy Kellman of Allmusic wrote that her lyrics aren't "particularly compelling" but that her voice "falls into the dreamy productions as an instrument that adds another shade".