[2] David Jeffries from AllMusic commended the "dancefloor fillers" for being "bigger and more powerful this time out" while labelling "Don't You Worry Child" as the track that tops off the record, but stated that "there's little here that suggests Swedish House Mafia is more than the sum of its parts".

[4] Caroline Sullivan of The Guardian found that all of the songs were "subjected to the same heavy hand on the tiller: beats are stonkingly four-to-the-floor, singers wail, breakdowns shudder", but nonetheless commented on the album's "headbanging urgency", which prompts listeners to "tap a foot", thus classing it a success for the group.

[11] Robert Copsey from Digital Spy realised that although there was little new to be found within the songs, which "makes for an exhausting hour and 15 minutes", the album's intention was "never one of a cohesive, journey-leading record" but instead its strength lies in the group's live act: "In that sense, Until Now is a job well done".

[5] T'cha Dunlevy of Montreal Gazette labelled the album "a bit of an anticlimax" with its release being paired with the group's breakup announcement, yet noted the effective but "over the top and cringe-inducing" track makeovers of Miike Snow, Usher and Florence & the Machine.

[14] Smith Galtney from Las Vegas Weekly commented that, "If Michael Bay made club music, it would sound just like Until Now", whose tracks are clocked in "EPMs (explosions per minute)" where "buildups begat crescendos and big moments merely exist to create even bigger ones".