[14] Jamie Milton of DIY magazine wrote that "when going for the jugular, BANKS combines unbending confidence, warts 'n all detail and gigantic choruses in the same move", adding that "The Altar is very close to being a razor-sharp pop blueprint.

"[17] George Garner of Q magazine called the album "[s]tunning", stating that "Banks has excelled at transforming accrued romantic scarring into mesmeric songcraft" and "The Altar marks a radical intensification of her talents".

"[15] Shahzaib Hussain of Clash viewed The Altar as "more textured and artful than Goddess, BANKS growing into her role as a writer, upholding the sensual melancholia that characterised her debut.

[18] Writing for Rolling Stone, Maura Johnston concluded that "Banks' list of grievances can get wearying, but the music's dour detail is alluring too.

[19] In a mixed review, Andrew Paschal of PopMatters expressed that "[t]he high points of The Altar are nearly perfect, but these are outnumbered by a massive middle section comprised of unremarkable, uninspired filler.

"[21] Katherine St. Asaph of Pitchfork found that "The Altar has a lot in common with Goddess, including its fatal flaw: its attempts to position Banks as edgy or dangerous, despite all musical evidence to the contrary.