[1] A predominantly instrumental record which utilises elements of both rock and electronic music, it blends styles including techno, dream pop, ambient, and dub.

[2] Too Pure's co-owner Richard Roberts stated that upon hearing Seefeel's demo "there was no obvious song for radio, but in my opinion it felt good.

The other members of the band contributed either complete tracks or component ideas into the process – some were accepted or not as Mark acted as the editor, and quite rightly so at times!

[7] The album's unusual blend of genres led critics to apply various different labels to Quique, associating it with styles such as dream pop, ambient techno, dub, intelligent dance music, and shoegaze.

"[8] Glenn Swan of AllMusic described the album's mixture of genres as "a sort of electronic hybrid that had listeners simultaneously scratching their heads".

[7] Jess Harvell of Pitchfork stated that the audience will "hear the beginnings of a still-thriving genre that remains slippery and unnamed, purely electronic music with a strange, tangy rock aftertaste.

"[13] Clifford was irritated by being placed within a genre by critics, stating that Seefeel "weren't trying to fit into any one of their scenes and it felt a little like we were almost having convention thrust upon us when that was the very thing we were reacting against.

noted that "Quique follows a similar path as Aphex Twin's Selected Ambient work but with structures that a more rock-based band like Chapterhouse dreamed of matching.

"[3] "Climactic Phase #3" contains minimal percussion, a bass line that rises and falls that creates a faint pulse to guide it.

[3] Peacock said that she loved the song's "groovy and dubby" feel, but disliked the "pitchy vocals"[3] "Imperial", "Climactic Phase #3" and "Plainsong" were made from what Clifford called "an obsession for sampling and sequencing.

Simon Reynolds gave Quique a positive review in Spin, stating that Seefeel had "struck a sublime groove between MBV's sensual tumult and Aphex Twin's ambient serenity".

Like [My Bloody Valentine] on Loveless, they're sometimes so blissed it's suffocating" and that "overall, Quique is consummate, a blanched canvas for the imagination, and a cracking debut.

"[27][28] Jon Savage of Mojo gave a positive review of the album, stating that "throughout much of Quique, Seefeel achieve that spacious weightlessness hinted at by their titles: 'Climactic Phase #3', 'Filter Dub', 'Signals'".

[29] In a review of the group's next album, Succour, Select's Gareth Grundy remarked negatively on Quique, opining that it "owed as much to My Bloody Valentine as Aphex, but never believably cemented the two influences.

"[30] Louise Gray of The Times commented on Quique in 1994, stating that the album "drew sighs of admiration from critics and the public alike" and was "a beautiful document which has its roots in an experimentalism that began with La Monte Young and has, in recent years, been continued variously by Glenn Branca, the Swans [sic] and Spiritualised.

"[7] Jason Ferguson of Harp described Quique as "shimmered with a futuristic ethereality that was far more substantial than the electro-ambience of the era, but also much less assaultive than the shoegazers Seefeel was affiliated with early on," adding that the 2007 re-issue was "a fitting tribute to a very unique sound.

"[34] Mark Edwards of The Sunday Times gave the Redux edition a positive review, referring to Quique as the group's "finest moment" and concluding: "If you like music to have structure, Quique will drive you barmy; but if you consider the presence of the word 'texture' in an album review to be a positive, you might well enjoy this languid landmark.

that "While it doesn't feel like a timely release, the re-discovery of Seefeel (no word yet on a reunion) certainly verifies their relevance in today's music, especially in light of neo-gazers like Ulrich Schnauss and Tim Hecker.