[5] Stereo Review stated that "the sound might be described as garage-folk; the scruffy arrangements show traces of 'Louie Louie' consciousness, but the band is working to enhance the vocals instead of drowning them out, no doubt realizing how grabbing and unguarded Manning's voice is.

"[14] The Chicago Reader wrote that Manning's "striking originals are fraught with numbing self-doubt, despair, and darkness, yet her confused narrators never ask for pity or wallow in moroseness.

"[15] Nashville Scene called the album "equal parts neo-psychedelia and hypnotic, Velvet Underground-influenced droning à la New Zealand bands like the Bats and the Clean.

[13][17] The Chicago Tribune praised the cover of Faust's "Flashback Caruso", writing that "Manning's band mates, particularly bassist Margaret Murray, weave an opulent tapestry of musical colors.

"[11] AllMusic wrote that "it's probably Manning's darkest record, with rich and varied arrangements that add trumpet, vibes, strings, even calliope ... to the acoustic guitar-based songs, and lyrics heavy on the disturbing metaphors.