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Drowned in Sound writer Robert Leedham stated the track was "impeccably sung".
Consequence of Sound writer Chris Bosman found elements of "slow down radio R&B to molasses RPMs" in its composition.
Consequence of Sound writer Len Comaratta awarded Oddfellows three stars out of five, finding that Dunn's bass playing improves the band's sound without altering it radically.
Consequence of Sound writer Chris Coplan commented that the ballad is a powerful moment of self-realization, which is enhanced by Knowles' vocal performance "as [a] wounded bird turned resilient lioness".
Sound on Sound writer Sam Inglis said that the album was a "blend of fragile acoustic fragments, brutal beats and glitchy electronica"; The Age described it as "electronic music that sounds deceptively organic".
Drowned In Sound writer Pieter Macmillan commented positively on their use of vocals on the album saying "having male and female vocals and the ability to switch from singing to screaming and back again immediately creates a rich and textured sonic world if it's done well, as it certainly is here".
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Penelope personally looked after most of the material from the erudite and sometimes pretentious Sight & Sound writers, and was one of the best subeditors I ever encountered.
Moman and Presley decided not to record Hill & Range compositions, instead using songs by American Sound writers.
British music papers such as the NME and Sounds took notice, with Sounds writer Geoff Barton christening the movement the "New Wave of British Heavy Metal".
Alt Sounds writer Candice Haridimou gave the album a rating of 94% out of 100% and praised the album's lyrical content.
The stitching together of fifteen (or thirty or sixty) single issues of a paper into one large, heavy book does much to keep the sheets sound... Writer describes the history of microfilm, the connection between the Library of Congress and the C.I.A., and dissects its drawbacks.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com