The album involved Stott intending to create grime-influenced tracks, so much of the LP's sound palette is used from the Korg Triton, a workstation keyboard distinctively used in early grime instrumentals.

[3] Due to Stott's goal of making a grime-influenced LP, most of Too Many Voices consists of sounds from a Korg Triton synthesizer that were also used in the grime works of acts such as DJ Slimzee, Dizzee Rascal, and Wiley.

[3] While he originally bought the Triton to give the album a grime style, he later got into the keyboard's other non-grime-related presets, including ethereal, sometimes choir-based pads: "It's kind of made me play in a different way, really.

[3] Too Many Voices is primarily influenced by early grime, the works of This Mortal Coil and Dead Can Dance, and the "fourth-world music" of acts like Yellow Magic Orchestra.

[6][7] Pitchfork's Andy Beta was one of these critics, describing the album as the end of Stott's "phase" in his career that started with Passed Me By where he had a dark, abrasive, and bass-heavy sound.

[9] The bright, pop-style vocals of Stott's former piano teacher Alison Skidmore are also present on Too Many Voices as was on his previous two albums Luxury Problems (2012) and Faith in Strangers (2014).

"[2] Too Many Voices also uses that same compositional elements of Dead Can Dance and This Mortal Coil in that it uses "heightened emotional tension of the present seen through a futuristic lens," wrote Birkut.

[2] As Birkut wrote, "Where This Mortal Coil softened the blow of tracks such as “Come Here My Love” and “The Horizon Bleeds and Sucks its Thumb” with gentle ballads, delicate interludes, and folk covers, Stott retains that level of intensity on Too Many Voices without having to strike a compromise.

"[6] Another review from Resident Advisor's Angus Finlayson opined that the album "marks a new stage on [Stott's] journey into the pop unknown, but it feels like he's not quite there yet.

"[2] As Aine Devaney of Crack magazine wrote, "there’s a space and light to this record that makes it [Stott's] most honest and sentimental release to date.

[22] Franquelli described the album as "Stott at his best, a composer whose futuristic music is well rooted in today’s world, one that is badly connected to material reality, without a locus, with an idea of time that is flexible, adaptable.