Following the release of It's a Feedelity Affair in 2006, Lindstrøm had become tired of producing dance remixes and average length vocal pieces.

Typically, Lindstrøm would mix the record himself, but he felt overwhelmed by the album's scope and decided to seek outside help: "I’ve kind of discovered that I’m not good at doing everything myself.

"[3] Though a common theme was not purposefully established for the album,[1] some journalists noted similar feelings of travel and adventure when listening to the record.

The album featured a bonus disc with edited versions of the original tracks by frequent Lindstrøm collaborator Prins Thomas.

[9] Pitchfork editor Dominique Leone described it as a "seamless combination of digital production, analog synthesizers and live instrumentation.

[10] AllMusic writer K. Ross Hoffman declared the record an "entirely satisfying display" of Lindstrøm's talents and positively commented on the textured instrumentation.

Club disagreed, believing the album to be narrow minded and a missed opportunity to exploit the lengthy tracks and deliver more musical depth.

[11] Praise was given by Alex Macpherson of The Guardian, who stated "Every aspect of the record seems tailor-made to produce maximum pleasure [...] Where You Go I Go Too would make even the most hellish of journeys seem like a first-class trip.

Music felt audience reactions would be polarized; some would find it "sophisticated and lovingly crafted", while others might be put off by its "unabashed opulence".

"[20] Pitchfork editor Tim Finney believed Where You Go I Go Too showed signs of a masterpiece, but also possessed "bloat, excess, and splendor" reminiscent of disco revivalists.

Brackpool wrote favorably about "Grand Ideas" and made comparisons to Vangelis and Tangerine Dream,[19] while Hoffman named it the most danceable track on the album.

[22] Brackpool agreed, writing "[If] isolated from the rest of the album [The Long Way Home] could easily pass for generic library music..."[19] While Draper considered it a solid song, he decided it was a "little too saccharine for its own good".

[20] Hoffman enjoyed the song and wrote "the vibe is rangy and exultant [...] as blissful and bemused as the vehemently unpretentious [cover] shot of Lindstrøm.