[4] Paste's Scott Russell describes the song as opening up into "an irresistible prog-pop jam, downshifts into a hushed, horn-accentuated bridge, and then throttles back up into full-on power-punk thrash".

[3] Jones called the album a "whirlwind of post-emo maximalism, fusing mid-aughts pop-punk with synthy, sugarcoated chiptune", separating electro-punk tracks like "bedroom community", "dallas" and "yoshi's island" with instrumental ones.

"[6] Ian Cohen of Stereogum interprets the track "bedroom community" as seeing "the human cost in trying to build an online scene in that manner — the influencer who’s emboldened to 'monetize her suffering.

[5] The Washington Post's Hau Chu described the album as something that "shuffles through jazz and synth-prog-rock and what sound like sweeping video game scores.

The band further noted in an interview with Michael Brooks from The Alternative that they have heard comparisons to different artists such as Of Montreal that they had not listened to until after the release of the album, but that they thought was comparable in sound to their own.

[5] Stereogum's Chris DeVille compared the album to "peak-eccentricity Of Montreal reimagined as peak-audacity fourth-wave emo and then remixed by peak-accessibility PC Music.

[4] Pitchfork gave the album a 7.2 rating out of 10, calling it "bizarrely inventive" and praising their confident delivery of lyrics, but saying that they fall short "when their subject matter starts to rely on hackneyed mid-aughts emo tropes".