As with its predecessor, the LP was recorded at the band's home studio, Amperland, a rural farmhouse shared by Hall and Nick Levine located in Kinderhook, a town in upstate New York.

Pitchfork writer Jenn Pelly called Amperland a "spacious, light-filled house" in a "a small, sleepy country town a few hours north of Manhattan.

[3] Journalist Kelefa Sanneh describes the penultimate song, "Neighbor", as an allegory for deceased animals, and the closing title track as a "meditative six-minute instrumental [...] during which the band cycles slowly between chords.

[8] Mark Moody, reviewing for the magazine Under the Radar, complimented the band's musical progression, calling it Pinegrove's "tightest recorded moments to date on display [...] Marigold unfolds with a feeling of more substance than what came before it.

"[2] Bud Scoppa of Uncut extolled Marigold as a "vibrantly empathetic experience" aided by its "mournful pedal steel, keening harmonies and thumping analogue rhythms,"[18] while Jenny Bulley of Mojo felt it captured the "guileless spirit of mid-'90s alt rock.

"[9] Though Jon Young, writing for Consequence of Sound, considered Hall's lyricism self-absorbed, he felt Marigold showcased the group "weaving a lovely tapestry of electric guitars shaded by occasional streaks of alt-country.