Critic Jason Ferguson described it as a "far more complicated album", composed of "straightforward pop songs countered by structurally deprived numbers like the vast Go!

"[4] The album's stark sound, minimalist approach and complex song structures led to comparisons with the work of modern classical composers such as Philip Glass and Glenn Branca, as well as rock bands such as Sonic Youth era "Sister" and My Bloody Valentine circa "Isn't Anything".

According to rock critic Steve McGuirl, the songs are "built from unlikely fragments based on metronomic ching-ching-ching downstroke guitar lines and fragile, icy arpeggios that usually erupt into blasts of dissonance and feedback.

"[2] Heather Phares of The Michigan Daily wrote in 1995 that the album's "stripped-down, fuzzed-out soundscapes are both dreamy and energetic...[and that] the Dye's approach to rock remains both fresh and poppy.

"[10] Writing for The Stanford Daily the same year, Arnold Pan praised the album's "head-rush" and "fierce wall o' noise" sound, and particularly Büttrich's guitar work, which he described as "letting his instrument drone on — loud or quiet — then slipping the overdrive into new and captivating directions.