"This Thread Is a Green Street" and the title track preceded the album's release as singles, with Karen Peris creating animated music videos for both songs.

Their writer said in contrast to their recent orchestral-based work, Midwinter Swimmers saw the band returning to the sound of previous records Glow and Small Planes, but with a "greater insight and deepened affection.

[6] Silent Radio noted the intricate level of detail found within the album's production, which they said "mingles lo-fi charm with subtle shifts to create a cinematic palette.

[8] Pitchfork noted the impact Karen's Catholic upbringing has had on her lyricism throughout her career, describing how on Midwinter Swimmers, she uses that belief as a means to "better understand the world" and her "place within it."

She's instead like a solicitous follower who does her part by keeping the sacristy tidy or straightening bibles in hymnal racks: creating a welcoming space for those seeking comfort.

She said the contrast between the two words in the title reminded her of how "fragile-looking, small and pale winter flowers like snowdrops are actually so hardy and enduring that they can bloom in the snow.

[11] The lyric of "The Camera Divides the Coast of Maine" is inspired by the work of poet Ivan V. Lalić, specifically his poem "Places We Love" and its line "What is beneath the window: a street or years?

[8] The Pinnacle Gazette described it as an album highlight, saying the band stepped outside of their comfort zone by creating a rock song, albeit one that still adheres to their folk influences.

[11] "We Would Meet in Center City" is a piano-based ballad, and features Karen utilizing the highest vocal register of any song in the band's discography.

"[9] KLOF Magazine praised its composition, describing the lyric as both "meditative and hopeful", noting it juxtaposes influences from eastern philosophy and western songwriting.

They compared it musically to the work of Yann Tiersen, saying the song "uses graceful piano and a flourish of vocal harmony to capture a fleeting, nostalgic feeling.

[25] The Arts Desk commended Karen's lyricism, comparing Midwinter Swimmers to Claude Monet's Nymphéas paintings, saying both contain subtle imagery that can be overlooked at first before gradually being revealed on repeated observations.

They said the record differs from the band's previous work in the "more assured rapport" between the style of composition and the "delicacy" of the production, saying: "So remarkable a balance is rarely struck.

[9] The Pinnacle Gazette praised the album for balancing "rich emotional depth with subtle instrumentation", saying it expands upon their established sound without detracting from the aesthetic of their previous work.

"[7] Similarly, No More Workhorse said the record "aches with melancholy and quiet beauty", and said it "feels more expansive and richer than their previous work without forsaking their core sound."

Their writer summarized by saying that although the album "might initially feel like comforting background music" to those unfamiliar with the band's work, it was a "rich, subtly textured record, created with exceptional finesse".

[14] Americana UK praised both the album's production and Karen's vocals, calling Midwinter Swimmers "fragile, tender and beautiful".

[26] While noting the global political climate of 2024, German publication Platten Tests described the album as an "effective antidote to hatred, agitation and discord", saying the record is instead imbued with a sense of hope, contrary to the prevailing social sentiment of "everyone against everyone".

They praised the album's composition, saying the songs "don't just flow quietly, there are always short pauses, spherical-elegiac instrumental bridges—which then lead into radiant choruses."

Their writer summarized by saying, through the album, the listener feels the "healing power of music, which truly and outstandingly confronts all the tumult and roar out there.