There are numerous other musical styles explored on the album besides the band's usual drum machine-based punk rock, and some of Jim Bob's lyrics had started to become more personal, sitting alongside tracks which are more traditionally politically or socially based.

Although singer Jim Bob felt the negative comments at the time of the release of "The Impossible Dream" were "completely pointless," he nonetheless conceded that the duo's output up until that point was "really easy to parody."

[5] "The Music That Nobody Likes" had begun as a mistake, whilst "Evil" is "an experimental B-side gone haywire;" Bob said that as a result of creations such as these and the more spontaneous approach that birthed them, the album became "just so much more refreshing.

According to Deadline magazine, it shows the band "moving into previously uncharted musical and lyrical territories," and made note of the excess of surprises on the album.

[1] In an interview with Deadline magazine, Jim Bob said "the difference between Post Historic Monsters and the records we have put out since 101 Damnations is that you can listen to it without prejudice.

"[5] Like the band's previous work, Post Historic Monsters is a dance-rock and electronic rock album characterised by its punk rock-styled distorted guitars and chattering sequencers and electronic beats,[1][2] but there are numerous exceptions to this style throughout the record, including "Being There", which features a lounge music-styled jazz style and a piano solo,[1][2] the acoustic folk of "Suicide Isn't Painless" and the ironic "mainstream schmaltz" of "Under the Thumb and Over the Moon.

[5] "Lenny and Terence" has been described as resembling "Ministry covering Black Sabbath," and Bob's vocals on the song are laden with audio effects.

[7] The magazine felt that both songs were driven by metal guitar that was as indebted to the rock scene in Seattle as it was to the duo's native South London.

[7] Although "Lean On Me I Won't Fall Over" is closer to the duo's typical musical style, it nonetheless features a live drummer and a skipping piano loop.

"[9] Although the duo's characteristic usage of puns and "twisted cliches" feature in the album's lyrics, the record nonetheless offers "some straightforward, succinct observations," with several songs being more introspective than before and tackling personal subjects.

[5] "A Bachelor for Baden Powell", about a young boy's attempt to avoid the "roving hands of his scoutmaster", is among the personal songs, based on an incident that happened to Bob as a child.

[1] "The Music That Nobody Likes", which asks "the imponderable", is about the rise of the extreme right and features lyrics such as "If love is the answer / What was the question / And can it cure my indigestion?".

Trouser Press, describing the song's lyrics, wrote: "[A]fter calling Michael Jackson a liar and noting that Bono is not 'the new messiah,' Jim Bob blurts out, "'f you buy this record today / It's not true what the advertisements say / Your life won't be greatly improved / But Christ you've got nothing to lose / And we've got so much to gain.'

"[11] "From fourth album Post Historic Monsters onwards, it is true to say that despite increasing in band members, fandom was on the decline – but they still had the songs."

"[13] When asked by Philippa Forrester during the interview if the album title was inspired by the publicity surrounding Jurassic Park at the time, the duo said jokingly replied it was a "cheap cash-in".

[13] Bob joked that he was not put-off in changing the title because of the film except when magazine covers featured promises of "no dinosaurs", which he declared "a bit of an advertising problem.

"[13] The interview became so subdued to a point where a caption appeared on screen saying "Carter found it difficult to talk about their new single – so we asked an easier question.

"[5] Stuart Clark of Hot Press said "there's a definite feeling that Carter are trying to prove that they're more than a couple of silly haircuts and a hyperactive beatbox.

"[7] The review said that even the songs which "diehard fans minght regard as 'vintage Carter'" are still able to "pull themselves free of the post-punk rut that the lads started falling into on their 30 Something and 1992 albums.

"[2] Deadline said the album was band's "strongest LP" since 101 Damnations, commenting that it "recaptures the anger and the frustration, the all-round urgency, of their debut.

"[21] The above listing shows the UK tracks; the USA album version included a different mix of "Lenny and Terence", plus the B-side "Commercial Fucking Suicide, Pt.