James Christopher Monger of
Allmusic described the album as an "equally evocative, yet more traditional collection of songs that suggest what
Nick Drake might have sounded like had he emerged in the early oughts instead of the late '60s." In addition, Monger felt that the release "never feels like a self-absorbed, autobiographical bore, as Jones' is an enigmatic enough narrator and a gifted enough arranger that what initially seems like ephemera turns out to be surprisingly affecting." At
The Fly, Edward Devlin wrote that Ryder-Jones is "a skilled arranger with a keen eye for detail. This surprisingly assured collection of songs sounds like the work of a seasoned songwriter." Barry Nicolson of
NME said that the effort is "not maudlin or cynical, but often quite comical", and noted that the music is being "delivered in a hushed, semi-spoken voice that frequently sounds like it’s trying to slunk out of the musical foreground. Once you’ve accustomed yourself to the sedate pace, something haunting, stately and – in a small-scale, arthousey sort of way – cinematic gradually reveals itself." The area of production was touched on by In Your Speakers' Theresa Flanagan who wrote that Ryder-Jones is "a well-seasoned veteran of the music industry and it shows in the well-crafted production, not so much in his genuinely humble affect." At
Q, James Oldham highlighted that the album is "melancholic, tauntly-arranged and given warmth by
Arctic Monkeys collaborator James Ford's sparse production". At
musicOMH, Martin Headon wrote that "there's more than enough here to establish Ryder-Jones as a serious solo artist – all it needs is one more notch on the self-confidence dial, and that potential could translate into astounding results." Soundblab's Dan Clay told that the listener "leave[s] [...] feeling fully immersed, satisfied and impressed."
This Is Fake DIY's Johnny Owen told that "while his vocal delivery sounds as though he’s having to force each word out through cracked lips at the end of a long night, the accompanying music fits perfectly" because it contains "a certain world-worn raggedness." At The 405, Mike Emerson felt that "the album could do with a couple more stand out moments both musically and vocally, however, as far as singer-songwriter albums go, this one stands out a mile." Furthermore, Emerson told that "the straight forward nature of the album doesn't do it any harm whatsoever, yet a lack of any major shift in tempo doesn't do it many favours", and that the truthfulness "really connects, and when distributed with such a softly spoken vocal the songs don't struggle to become quite hypnotising." Dean Van Nguyen of
Pitchork wrote that Ryder-Jones "vocal is dulled and rasping throughout, and the songs never blossom like those on
If..., seemingly hamstrung by his limited range." At the
Metro, Amy Rose Dawson felt that the album "showcase[s] [...] more conventional songwriting in the indie folk vein, big on delicate guitar strumming and pretty piano chords." In terms of lyrics, Devin evoked that "the cathartic lyrics paint vivid pictures and emotional scenes throughout, while the grandeur of the compositions and stirring melodies lift the confessional bedroom ballads from potential despair to salvation." Headon felt that Ryder-Jones "skills as songwriter and arranger are clearly evident – each song builds with subtlety and restraint, and there’s a neat rhythmic twist halfway through Anthony & Owen that brings his former band to mind." Owen told that Ryder-Jones "resides firmly in singer-songwriter territory, occupying a space somewhere between fellow Domino alumni Elliott Smith and Bill Callahan." Emerson wrote that "there are soft guitars meandering slowly through gracious flows of percussion, as drifts of piano keys wash over the surface. Hushed, and often heartbreaking lyrics are ushered into proceedings and at first, everything seems quite basic. After a few plays of the album, you begin to appreciate the beauty of the arrangements, and realise that the structure of these tracks is undoubtedly the reason for their success." In addition, Emerson said that the album "takes somewhat of a step backwards in complexity, albeit with more overall components involved. It's more of a back to basics singer-songwriter album, put together with a 20/20 eye for composition." Van Nguyen noted how "
If...'s more sweeping arrangements, playing to Ryder-Jones’s strengths, which are not insignificant, if sadly underused here." Dawson told that "the lyrics are very personal but pleasingly subtle, and Ryder-Jones can write a nice tune, but the whole thing starts to drift into one after a few tracks." ==Critical reception==