Erez started her career with intentions of only releasing singles, but the similarity of themes in the songs she was writing and being signed to City Slang convinced her to have a full-length album in her discography.

Off The Radar was compared by multiple critics to the works of acts such as M.I.A., FKA Twigs, Björk, and Grimes and was labeled by Erez as "very high rhythmic dancey music with political content."

Among its sound design and production, the record's use of controversial political subject matter alongside fun music styles helped the album garner critical acclaim upon its distribution.

[2] Kate Hutchinson of The Observer wrote some of the album's "jerky" instrumentals have "an escapist ebullience about them, all neon sharpie synths and catherine wheels of electronic bloops", and "others an oppressive, danceable dread.

[1] The glass-breaking foley on "Toy" was recorded at a recycling place, where Erez and Rousso threw the bottles in a bin that gave the glass breaks an echo effect.

"[4] He analyzed that "the fractured and unwieldy blurts, burps, bass blasts, whooshes and clanks embedded in her jerky arrangements are presented with a brio that confounds as much as it communicates, wringing agitation as well as catharsis from its ominous, chaotic soundscape.

[5][15][16][11] and FKA Twigs from critics,[5][17] the former due to its socio-political commentary,[16] Erez's sing-talking performance,[7][12] and what writer Bella Todda described as "clattering rhythms" and "wonk-pop hooks,"[16] and the latter for its "broken beats," (as described by Noisey)[1] vocal processing,[1] and "cinematic sparseness" (as labeled by Hutchinson).

[7] Influenced by the infrared works of Richard Mosse,[7] the video shifts randomly between concrete-filled imagery and quick burst of fuchsia colors, which serves as a symbol of "violence, corruption and desperation.

[22] Filmed in London, it depicts Erez standing around old televisions with screens displaying her from different angles,[7] which serves as a symbol for "how quickly and easily video documentation becomes shared, publicised and distorted" according to her.

[2] Directed by Eden Kalif and Daniella Meroz, it depicts several "weird and eccentric creatures" playing in a sports competition with "faceless" judges and "no real ending or winner.

"[26] This represents the theme of the song, which, according to Erez, is how "idolization and worship in their obsessive and blind form led us to the commonly used comparison between art and religion - between creativity and creation, and how the two can easily look the same and cross over.

"[26] Paste magazine's Kayleigh Hughes stated, "In its cohesion and crispness, its innovative approach, and perhaps most significantly the astuteness and clarity with which it engages in the frantic, threatening, vibrant world that surrounds Erez, Off the Radar is galvanizing.

"[29] Sumsion wrote that the album established Erez as a "rarity in glitchy, ethereal r’n’b and strobe-lit alt-pop, an auteur who bolsters her moody production chops with lyrical content of striking depth and acuity.

"[4] As he concluded in his reviews for Gigsoup, "Dripping with imagination and vibrancy, ‘Off The Radar’ is an audacious, cohesive and enchanting sensorama from a fearless, original artist forging her own path, an eminently-replayable provocation for both head and heart that dives deep into new, curious directions and breathes fresh life into warped pop.