Larry Flick from
Billboard magazine wrote, "With the
drum'n'bass/electronic revolution raging to mainstream heights, the time is right for Reece to break out of the underground. This is one of numerous highlights on the U.K. producer/composer's sterling stateside debut." He added that here, "ambient keyboards and staccato beats are warmed by the presence of guest vocalist
Deborah Anderson, who has a quality not unlike
Björk, but smoother and far more mainstream-friendly."
Jim Carroll from
Irish Times praised it as "a bewilderingly simple melody" and "timeless and classic", noting "the euphoric shudder" of "Feel the Sunshine". Martin James from
Melody Maker named it "one of the finest pop singles of the year. Its simple structure, aching hookline and haunting melody lifting it high above the stuck-in-the-festival-mud criticism stating that "the singer" sounds just like Björk." A reviewer from
Music Week gave it three out of five, saying, "There have been some varying takes on
jungle recently and Reece's understated, melodic drum and bass excursions with a
jazz tinge will find him a wider audience in the near future."
Mark Beaumont from
NME wrote, "Slinky, minimalist Martian-jungle from dancefloor innovator and producer Reece. The sound of a space-shuttle traffic jam with Björk-a-like vocalist Deborah Anderson trying to keep everyone calm by convincing us that there's
No pressure/No insecurities until a frenetic
techno-rumble kicks in to prove otherwise. Spooky, schizophrenic and swoonsome." Another
NME editor, John Perry, noted the "divine summer breeze" of the song, stating that the producer "
breakbeats his insistently over low-rent electro squiggles and honey-dripping vocals drape like velvet over a chaise longue. Reece has rubbed all the dirt from the surface of harcore and polished it until it reflects the sun." Upon the 1996 re-release, Sarah Davis wrote, "It was an astute choice as a single, encapsulating Reece's warm sound, and its hints of house and use of vocals made it radio-friendly." ==Music video==