The union of Almond and Harle is called "a powerfully theatrical alliance" by The Independent who compare songs on the album to both King Crimson and Scott Walker.

[8] Record Collector calls the album a "high-minded undertaking", praising both "the emotional breadth of Almond's compelling, immersive performances" and Harle's "consistently expansive and imaginative" musical settings.

[2] Joe Muggs for The Arts Desk writes that The Tyburn Tree (Dark London) "should by rights be really hard work" due to the many styles of music used but concludes that "like everything else in Almond's career, it's quite uncanny and unlikely that he carries it off – but he does.

"[6] The Observer calls the album "dark but dashing" and writes that "the echoing, crepuscular atmosphere is dominated by Almond's impressive neo-operatic singing".

He concludes that "the composer's echoing soprano sax is always haunting, as is Sarah Leonard's eerie, soprano-meets-chorister voice, and the searing Almond is magnificent all through".