After a small number of years of the two focusing on their respective solo careers, Lunice decided he should produce much simpler music instead of being "all over the place, trying to push how weird I could get, but the more I continued, the more I wanted to compress and refine my style to a point of, like, 'What if I just made a song out of one snare?'

[5] Derek Staples of Consequence of Sound described TNGHT as a combination of "regional beats", future garage, and electro similar to the works of Chrissy Murderbot, machinedrum, and Orlando-based producer Big Makk.

[6] As a critic for NME wrote, "Chasm-deep 808 basslines bellow beneath spacious marching-band drum grooves, super-sharp snare rolls and quirky snatches of sound, building the tension to near-unbearable levels before collapsing into frenetic, ground-shaking drops".

[5] Popmatters reviewer David Amidon wrote that TNGHT opens "fairly safely" with "Top Floor", a song "just a few 808 snare trills and pair of ambient dubstep breakdowns away" from music produced by Mr. Bangladesh, and after that, the duo are fast to present "their adventurous side" starting with "Gooooo".

[3] Tapping into the "gamer nostalgia" of Wonky music, Amidon described "Gooooo" as if "Samus Aran took a seat in the Total Recall chair and was planted in a Matrix-like goth club overseen by Shao Khan".

[5][11][9][3] An AOL Instant Messenger-esque sound effect of a cooing baby[9] and "glowing, trance-like synths"[3] are played on "Bugg'n", which was analogized by Amidon as if "Diddy Kong got ahold of a 9MM on the honeycomb levels".

[7] Amidon highlighted that, rather than "playing spot the influence with us or pointing at Atlanta groups like 1017 Brick Squad and Duct Tape Entertainment with ironic laughter", the two combined what was great about their very different styles "into a very synthetic, parasitical whole", calling the EP the year's "most unexpected – and welcome – entry into the club's current infatuation with trap rap's 808 abuse".

These included Larry Fitzmaurice, a critic for Pitchfork Media, who awarded TNGHT the label of "Best New Music" and called it "some of the year's most brazen, positively huge hip-hop sounds".