AllMusic reviewer K. Ross Hoffman wrote that Sing, Memory expands on the "extroverted electronic pop trajectory" of Passionoia, "emerging as a full-fledged collection of stylish 21st century dance-pop" styled after Dot Allison, Goldfrapp and Róisín Murphy.

He mentioned that the album was split between "dancefloor-ready" songs, such as "Beautiful Oblivion" and "Strangelove (Sing Version)", and downtempo tracks influenced by trip hop, like "When I'm Here with You" and "Masquerade".

[3] Drowned in Sound writer Holliy noted that it melded "electronic atmospherics, complexity and sophistication, tempered with an ear for a tune and a casual manipulation of the polish and clarity of pop to create a tangible feeling of otherworldliness".

[4] Hoffman said that Nixey shows "herself to be a good deal more romantic and empathetic" lyrically than Haines and Moore, though sharing a "similar preoccupation with the dark, twisted aspects of human relationships" as them.

[5] Bookended by the electro of "When I'm Here with You" and the disco song "Strangelove (Sing Version)",[1] "Beautiful Oblivion" includes the lyrical style of Black Box Recorder of a neo-disco groove in the vein of Annie.

[1] Cole wrote that it was "good to see that she can cut the mustard without Haines’ idiosyncratic (read: disturbingly bonkers) lyrics to back her up" as the album acts as the "perfect soundtrack for when the curtains are drawn and the sheets are made of black satin".

[6] Tangari praised her "thick accent, the deadpan delivery, the fortitude in the face of senselessness; it's all there whenever she opens her mouth to sing, and that poise works in her favor on the most upbeat material here".

[5] Hoffman wrote that being aware that Nixey was fronting "these lovelorn tales helps to take the edge out of her stiffly proper English enunciation, and in conjunction with a less chilly delivery [...] makes Sing, Memory far more likely to melt your heart than leave it shivering".