[3] Amanda Wicks of Pitchfork wrote that "absent the surrounding vocals of Mountain Man, or much instrumental framing beyond guitar, synths, and occasional drums, Sarlé’s voice comes into full frame" and concluded that "on Karaoke Angel, Sarlé wields her voice with power, finding actualization in the act of telling.
"[2] Vanity Fair's Erin Vanderhoof wrote that the album's songs "buzz with naturalistic sounds, and have a ghostly quality that reflects where they were recorded.
"[3] Sarah Edwards, writing in Indy Week, described the album as "contemporary and intense and in-step with the metamorphic nature of specific feelings and moments".
[4] In Exclaim!, Allie Gregory argued that "Sarlé's stunning voice" is at the album's center, "and it beats the soul raw while simultaneously supplicating an empathetic ear" and described "Human," "Karaoke Angel" and "Almost Free" as "the album's hardest hitting tracks, covering a range of human emotion: pain, sadness, ecstasy, longing, glee and defeat".
[3] Sarlé's vocals feature on the songs "Grasses" and "Long Leaf Pine" by Daughter of Swords, the solo project of her Mountain Man bandmate Alexandra Sauser-Monnig.