The band also stated that they "laid bare confessions directly from diary pages, and summoned an orchestra to bring our vision to life", calling it their "greatest honour and pride to present this offering to the world, it is everything we are".

[1] John Earls of Record Collector wrote that "Prelude to Ecstasy inhabits its own world as magnificently as The Lexicon of Love or Dog Man Star in marrying its grandiose aims with massive tunes.

The Last Dinner Party may have some reverence for their art-rock forebears (think: early Julia Holter or St Vincent), but also enough self-belief and magnetism to set them apart from what's come before", summarising it as "fantastic songs that are easy to embrace and return to".

[14] Ellie Robertson of The Skinny concluded that, "Whether you call it glam, goth, or grotesque, these writers are resurrecting a long lost art in popular music – using big sounds, with indulgent lyrics, crafting a listening experience so rich it borders on hedonism.

[19] Concluding his review for AllMusic, James Christopher Monger called the album "a remarkably assured set of bold-faced indie rock and maximalist goth pop teaming with earworm melodies, intelligent, darkly romantic lyrics, and thespian bluster".

[3] Laura Snapes of Pitchfork wrote that it "channels baroque pop and prog of yore, yet for all its high drama, the results sometimes sound too carefully plotted and curiously professional", as "for songs that deal with the emotional violence meted out to women and queer people, there's not much mess in TLDP's proggy proficiency, the kind that glam originally stubbed its cigs out on".