"[5] The album's art director was quoted explaining, "We were very anti-computer ... Each letter of the band's name was cut out by hand, but done so in a deliberately rigid manner, as a kind of whimsical nod to modernism.

Pitchfork's reviewer wrote, "The supposed ignorance of the singers plays well for this record's lack of irony, a big part of what makes it succeed as a well-meaning, well-executed novelty.

Elsewhere, familiar lyrics and arrangements are turned inside out to generate frosty menace (The Clash's 'Guns of Brixton'), giggly coquetry ('Too Drunk To Fuck' by the Dead Kennedys) or haunting languor (The Cure's 'A Forest', teeming with birdsong).

AllMusic's review begins: "The best compliment that can be paid to Nouvelle Vague's self-titled debut album: it isn't as arch and smirking as a collection of bossa nova versions of new wave classics by fetching French and Brazilian chanteuses would suggest.

"[10] The NME gave the album a 1 out of 10 rating, writing, "the very concept of Nouvelle Vague – alternative '80s hits done in a deeply kitsch, sub-Bebel Gilberto sunset-samba style – is one that's so tired, so looooong past any imagined sell-by date that we're honestly astounded it exists.

"[16] Several reviewers drew comparisons, both favourable[13][20] and unfavourable,[16] with an album of Kraftwerk covers recorded by the German musician Uwe Schmidt (also known as Señor Coconut), El Baile Alemán (2000).