[11] AllMusic's Andy Kellman wrote that the new producers don't stray the duo away from the "downcast style of slow jams and ballads" of Sept. 5th, but concluded that: "Compared to the debut, this has a little more definition.

praised Nineteen85's expansive "range of tempos and sound" and Daley's "vocal prowess" throughout the track listing but critiqued that more detailed lyricism than your typical R&B fare was needed, concluding that: "In general, dvsn have honed their skills since their debut, and it's resulted in a better-rounded and polished sound.

With the cohesive and captivating Morning After, dvsn have used soothing vocals and layered beats to paint a sonic portrait of modern R&B.

"[14] Pitchfork contributor Marcus J. Moore also praised both Daley's "delicate and powerful voice" and Nineteen85's "shadowy, cinematic" production for crafting a heartbreak album that captures the "essence of R&B pillars" like Maxwell's Urban Hang Suite and Frank Ocean's Channel Orange without utilizing either one for support.

[15] Kevin Ritchie of NOW felt that Daley was more of an "interesting, expressive singer than [he is] a lyricist", noting the track listing was more "straightforward and plaintive than poetic or analytical," and was mixed on Nineteen85's production throughout the record, praising the "catchiness and precision" of the melodies (highlighting the "mid-tempo R&B" in the middle section) but critiqued that the replacement of Sept. 5th's "female gospel singers" with acoustic instrumentation, "wandering and jazzy piano riffs, melodic guitar and classic soul/R&B nods" overemphasized the overall sentimentality.