[1] For the album, Silver went for a record that represented a paradox of “non-time, non-being, non-death.”[8] As a Spectrum Culture critic analyzed the music's relationship with Matsuda Matsuo's cover art for Radiance and Submission, "[the artwork consists of] a cold scene, a family of sorts, kneeling, seeming to mourn the death of a unknown figure, beside a conceptual lake or seaside, [and] the long echoy synth-leads call upon an open space and [are] almost animalistic in its tone and flavor.

"[9] Radiance and Submission has a much more minimal structure than CFCF's previous album Outside (2013), where "even in busier moments, there is sufficient enough breathing room to catch each sound and instrument’s subtle exhalations," wrote King.

"[8] However, he also opined that the short length of each track was a major drawback of the record: "Silver has spent so much time and effort to build a song up to this great climax, but then just gives up.

"[3] Journalist Benjamin Boles gave the album a score of a three out of five, calling its first half the "weakest" part and the rest of the record the most "interesting," where "Silver's soft vocals begin to give the songs a sharper focus and a human vulnerability.

"[15] Ali Van Houten of In Your Speakers wrote that while Radiance and Submission was decent, it wasn't worth more than one listen, reasoning that it "gets bogged down in the territory of aimless ambience.

journalist opined than the album was a "stunningly simple, meditative listen" for only "a handful of moments," writing that "the Montreal musician attempts a serene matrimony of the two musical sides that struggles to strike a balance between stimulating and stale when it comes to the record's overarching sound.