By the end of 1996, the album had sold around 750,000 copies worldwide, with its main markets in Europe (reaching the top 20 in several countries including Germany and Scandinavian territories[4]), Japan and Australia.

[7] In Babylon Zoo's native UK, Observer journalist Neil Spencer noted "a blast of Beatles and a hunk of early [David] Bowie", hailing bandleader Jas Mann as a "hero" and "1996's first real phenomenon".

The Daily Telegraph commended the first two tracks but lost interest thereafter, directing criticism at the "mannered" vocals, "increasingly precious" lyrics, and song arrangements in which "one grinding riff sure enough follows another".

[20] Andy Gill in The Independent described the album as "re-heated techno-glam guitar-rock somewhere between Ziggy Stardust and Jesus Jones", which brings home "just how mundane the notionally exotic can be".

[21] The Irish Times observed an "outmoded melange of distorted guitars, washed out synthesisers and pseudo sociological sci fi lyrics", listening to which is "not a pleasant experience".

"[24] Dave Thompson in Alternative Press felt "no fears for follow-ups" to the lead single, and likened the album to "[David] Bowie's Ziggy Stardust, remixed by the guys from Underworld".

"[36] AllMusic awarded the record 3/5 stars, despite editor Stephen Thomas Erlewine's discrete review in which he observed a lack of cohesion and hooks, and characterised Mann as "pretentious, not ambitious".