[3] The Quietus described the album as "propulsive and angular", praised it as "the embodiment of the weird, wonderful and true ecology of it all, presented by a bunch of folks dressed like ditches" and compared the band to "a pagan Can or a forested Fall".

[9] Loud and Quiet describe the album as "hyperactive post-punk for the ailing state of the nation" and "bounding forward uncannily like The Fall's recent work".

It was Rough Trade's Album of the Month, and they described it as the group's "most spellbinding potion of woodwose krautrock to date" and a "bewitching and hypnotic incantation with swirling melodies, primal rhythm and feral funk that harks back to the feeling of possessed mania of Can or Joy Division.

"[23][4] The Leaf Label describes the band's sound as "primal motoric rhythms, the rush of white noise and post-punk angles; an aural onslaught played out on homemade log synths, electrified guitars and sticks beating hell on taut animal skin".

[6] In the same article, the band describe Come Play The Trees as "[having] a bunch poppy, post-punk groove tracks, but then we've got some songs that are made just using the single oscillator log-synths.

[6] The band also cites the diverse influences of Morris dancing, Old Norse texts, Jean-Luc Godard, Lightning Bolt, Fela Kuti and London warehouse parties.