Critics have noted that
Doga continues but evolves Molina's distinctive musical style, which resists easy categorization into any particular
genre or scene. In his review of
Doga,
Pitchforks Walden Green noted that Molina "has spent nearly three decades abstracting South American
folk music into rhizomatic root networks that entwine the digital with the acoustic." Although she has maintained her distinctive style, over the following decades the folk-related elements of her music, which were more acoustic and immediate, have evolved towards more electronic and abstract sounds, culminating in her 2017 album
Halo.
Doga represents a deepening of this evolution in her sound, and has been described as "slipperier and more revealing than any of its predecessors", and "her most warped yet immediate material to date, retaining the element of curious melody that defined her early recordings while enveloping them in hypnotic synth grooves." Sergio Sánchez of
Página/12 described the album as "eleven
experimental, unpredictable, and playful pieces." Writing for
Rockdelux, Jesús Rodríguez Lenin felt that the artist closest to Molina musically is
Lucrecia Dalt, with whom he collaborated on a song from her latest album, but that with
Doga, "she has shaped a very different work, made up of experimental and
avant-garde sounds that she nevertheless manages to transform into something accessible and enveloping." Much of the sound on the album focuses on the sound of old analog synthesizers, which give the record its distinctive sonic character. According to Green, on
Doga, Molina's "fascinations have shifted from the paranormal to the paranatural. She cherry-picks synthetic textures that mimic the most terrifying sounds you can hear in your own backyard—a fisher cat's cry, a coyote's howl, the humming of a wasp's nest under the eaves. == Songs ==