[3] The Guardian describes the record's sound as “all woozy basslines, stuttering tempos and glacial washes of synths that feel like a hollowing out of several narrative strands in pop history.

"[1] Pitchfork critic Paul Thompson wrote: "At its best, One Nation sounds like a beat tape left to crackle for a decade in somebody's garage.

[2] It has been compared to the works of Daniel Lopatin, Ariel Pink, and Boards of Canada, and has been characterized as drawing influences from G-funk, synthpop, horror movie soundtracks,[2] classic R&B and Chicago house.

[7] Drowned in Sound critic Noel Gardner described Hype Williams as "a brace of obnoxious, always-switched-on jokers whose music has actual depth and beauty, as much as their M.O.

"[4] Tim Chester of NME thought that the record lacks cohesion and "the songwriting spark of Ariel Pink", eventually writing: "Like making a time capsule and filling it full of junk, '‘One Nation''s oddball ephemera might seem more intriguing to good citizens of the future than it does to us.