Primarily an R&B and alternative R&B record, the album blends elements from various genres, including pop, folk, dub, soul, funk, electronic, Qawwali, hip hop, reggae, classical and soft rock.

[1] Throughout the rest of 2015, Malik gave interviews with several music magazines, during which he spoke about his debut solo studio album and revealed part of the track list.

Talking about the recording sessions with Billboard, Malik's main collaborator for the album James "Malay" Ho said they have gone to unusual lengths in pursuit of inspiration, for one "we went camping for a week in the Angeles Forest – set up a generator and a tent so we could track in the woods.

"[15] James Ho is a Grammy Award winning producer,[16] whose past work includes Frank Ocean's Channel Orange and Big Boi's Sir Lucious Left Foot: The Son of Chico Dusty.

[43] The album largely foregoes radio-friendly "pop bangers" in favour of "sexy, seductive R&B" that focuses on "moods and textures and creating an alluring, provocative vibe", while maintaining an almost seamless cohesiveness throughout the record.

[50] The music production is similarly detailed, complex, and deeply textured, ranging from elaborate synth swirls in "She" to the careful layering of soft-funk guitar lines in "Borderz".

[20] There is sonic experimentation present throughout the album, experimenting with elements such as the minimal and moody tones of contemporary R&B, reverberated funk guitar, M83-esque electronics, and soft rock drums and piano.

[42] "Flower" is an experimental interlude, in the form of a spiritual, Pakistani ghazal that Malik sings in Urdu, his father's native language,[28][35][36][66] backed by Ho's folk-style acoustic guitar playing[27][28][40] and atmospheric sounds resembling a thick mist.

[40][67] Qawwali is a form of devotional Sufi music associated with Islamic culture,[35][49] and Malik used Indian techniques for the track, including vocal elisions,[35] warbling,[47] and "deeply centered but controlled fervor".

[87][88] The cover art, which uses a photo of Malik as a child, drew comparisons to Lil Wayne's album Tha Carter III, which he addressed stating "my ideas have been with me a long time.

[98][99][100] He was scheduled to perform at Wembley Stadium in London, England for Capital FM's Summertime Ball on 11 June 2016 and then headline a sold-out concert at the Autism Rocks Arena in Dubai on 7 October 2016, but cancelled on both occasions due to suffering from anxiety.

[37] Elijah Watson of Pigeons & Planes and Complex said it is "more than" a Timberlake-like "rebrand", but rather "the project displays a Malik that has always been present, but is finally getting the proper introduction he deserves."

"[38] Andrew Milne of musicOMH called it a "genre-blending bedroom confessional" and a "Soulful, sexy and captivating" album that shows "experimentation, honesty, passion" and "Malik's versatility and urge to explore".

[81] Sam Richards of NME referred to it as "sexy, credible pop-R&B", comparable to a previous Malay production, Ocean's Channel Orange, while pointing to the "dubby neo-soul" of "Truth" as an example of Zayn developing his own personality, concluding that the album "is sumptuously produced and perfectly sung, with just enough intrigue.

"[133] Andy Gill of The Independent praised the "sublime R&B beats" and particularly Malik's vocals as "by far the album’s most potent aspect, bringing grace and wonder even to the more routine material, and hoisting the better songs to classic status", while viewing the Qawwali-style "Flower" as being culturally relevant in light of recent events, stating that "the brief track’s beauty" has the potential to open people's "hearts to the broader aesthetic possibilities of cultures outside their usual experience.

"[35] Michael Cuby of Flavorwire described its "album-as-complete-work" form as "impressive" and praised Malik's "impeccably versatile voice" across "delightfully varied" songs, the blend of Miguel's sexuality and Ocean's introspection with his own "clear pop ambition", and the unique "Flower" which "only he could execute properly".

"[41] Mesfin Fekadu of Spartanburg Herald-Journal expressed surprise that Malik was a former One Direction member because of how different Mind of Mine sounds, stating that it shows "Zayn has some true star quality" and that there "isn't a bad tune" in the album.

[45] Lewis Corner of Digital Spy rated it 4 out of 5 stars, stating that "he has genuinely put together a slick debut album that deserves success on its own merit".

[138] Richard He of Noisey and Vice gave it a positive review, stating that "Zayn's brand of alternative R&B is carefully curated to exude maximum cool," that it is "a more consistent listen than Bieber's Purpose, or even Beauty Behind the Madness," and that the "songs are masterfully crafted" with each element "in perfect balance - lyrics, melody, production.

"[77] Desire Thompson of Vibe gave it a positive review, calling it a "pleasurable debut album" where "he's mastered the art of sexual slow jams" and stating that the musical chemistry between Malik and Ho "shines through".

"[140] Alex Dansereau of Sputnikmusic described it as a "great" album where Malik finds "his own niche inside an already crowded lane" as he "strikes a delicate balance" between "alt-R&B moodiness" and "pop earworms.

"[141] Maeve McDermott of USA Today rated the album 3 out of 4 stars, praising Malik's "sublime voice" and stating that it "succeeds as a catchy, sexy and fully modern take on contemporary R&B".

[142] Christie Goodwin of Milwaukee Journal Sentinel said that "Malik's falsetto has a subtle side not prevalent among Timberlake wannabes," and that "Truth" and "Flower" insinuate "Mind"-expanding possibilities.

"[144] Music Times gave it a positive review, with Jon Niles saying it reminds him of early Weeknd mixtapes and has "lasting appeal", while Ryan Middleton said it "is an impressive solo effort.

"[145] Tim Sendra of AllMusic wrote that "the sound of the album is rich and layered with synths, rubbery basslines, and occasional electric guitars" and that "he digs deeply into slow, sensual ballads and basically buries himself there like it was a big, fluffy blanket perfect for a midnight rendezvous" while also commenting that "while the songs are mostly strong and it all sounds very slick and state of the art, the highlight is Zayn's voice" and that "it's a treat to hear him on his own, with nobody else hogging the spotlight", ending the review by calling the album "an impressive debut".

[146] Leah Greenblatt of Entertainment Weekly rated the album a B+, noting that many tracks "conspicuously echo Ocean’s Californiacool ennui" while adding that "he doesn’t sound particularly interested in pushing pop’s boundaries or dissecting the vagaries of his own fame".

[147] Michael Cragg of The Guardian opined that "the sound he’s chosen – clipped beats, hazy production flourishes, oodles of falsetto as a shortcut for emotional honesty – is basically 2016 writ large may seem bandwagon-jumping, but there’s more than enough good stuff here to suggest it’s been created with love rather than with an eye on ticking boxes".

[148] Some reviews were less positive, with Brittany Spanos of Rolling Stone praising Malik's range and vocals, the immersive production, and unique experimental tracks such as the neo-soul "Truth" and hypnotic intermission "Flower", but criticizing the album's overtly sexual lyrics.

[149] Alexa Camp of Slant gave it a mixed review, praising Malik's vocals and the music production, but criticizing the lyrics as "pleasure-obsessed, vaguely misogynist, and largely disposable.

"[150] Andrew Unterberger, writing for Spin, noted that the album "never sounds less than great", but that Malik doesn't "give us much reason to care about that Mind of His" and that the songs are "lacking in narrative".