"[1] AllMusic reviewer Joshua Glazer called it "one of the most wonderfully skewed takes on classic pop you're likely to hear," noting that "its hazy production obscures inklings of '70s AM radio-styled songwriting, and Pink's gift for melody is almost as strong as his tendency towards weirdness.

"[13] David Stubbs from Uncut wrote that the songs' "range, volatility and Simultaneist overload sounds like The Beatles circa 1967, The Human League, FM radio's Hall Of Fame, Phil Spector, Tiny Tim and the great R. Stevie Moore all frolicking at once in an acid bath in his own head.

"[11] Stylus' Mike Powell credited the album with accomplishing "the difficult task of drawing something genuine out of music and affects that seem deliberately and relentlessly depth-less.

"[17] Less favorably, Pitchfork's Nick Sylvester opined: "The songs are secondary to Pink's bourgeoning cult of personality-- the album turns its imperfections into selling points, its pigheadedness into firm resolve.

"[18] In 2013, critic Simon Reynolds named the album among his favorite records of the 2000s,[19] suggesting that its "reverb haze could be a semi-conscious attempt to recreate the blissfully indiscriminate way that children listen to pop music, before they learn what's cool or uncool.