Critics also noted the contrast between Hatori's and Simins' vocals, calling Hatori's "high-flown"[4] and "shrill"[3] and Simins' a "paranoid growl",[4] a "restrained drawl",[3] and "husky".[1]Wired's James Sullivan said Lee provides "foundational scratch guitar" and occasional "mind-bending string-bending" and Mills adds simple basslines which "keep the rhythms gliding atop Simins' pile-driven beats."[1]
AllMusic's Tim Sheridan called the album "Often hilarious and consistently groovy; in a word, dynamite."[4]Entertainment Weekly's Ethan Smith said the album is "guaranteed to keep your hips shaking all night".[5]
Less positively, Spin's Douglas Wolk called the lyrics "either half-assed ... or inaudible" and said many song's ideas felt like "the result of a moment's whim", such as "Mono Lisa" sounding like Stereolab and "Degobrah" being "fake hardcore".[8]