opined that "if you were to take a guess at what Smith was suggesting with this album it would simply be that the world is a magical, wondrous place, and that it is still possible to see it through a child's eyes. To that end, any religious themes that can be detected are swamped in childlike word play or muted understanding. Creation is covered in the beautifully grotesque "Insect Hooves on Lassie", which finds Tim indulging in a little re-designing and making his own kind of hero. dog." Songs Kitching, describing opening track "Eden on the Air", said "a sound like a wind chime being struck followed by some seconds silence proceeds from the initial drop of the needle as 'Eden on the Air' swells, imperceptibly at first, to coalesce like early morning mist, beautiful but only briefly there." Sam Shepherd of MusicOMH said that the "gently tinkling wind chime and then short passage" sound like "the twinkling of the stars that grace the cover of the album." "Eat It Up Worms Hero" has been described as coming "something of a shock, shaking the listener rudely out of their reverie" and as "easily the album's most abrasive and chaotic sounding track." It is a product of Smith using the studio as instrument, conducting a mass of choral voices against buzzsaw guitars and manic electronic pulses. The "singalong craziness" of "Dog Like Sparky" combines "a tale of everyday pet disablement to a wonky oompah knees up". Kitching called it a "stupidly, almost overwhelmingly happy song with a playful blasphemy hidden in its heart ("Put your hands on the Holy Bible and scream wank") and an utterly demented keyboard refrain that sounds like a fleet of ice-cream vans chiming simultaneously." Shepherd noted that "three songs in, and already there's been enough ideas thrown into the mix to fill most bands entire careers." "Fiery Gun Hand" keeps the pace of the album up and then "floors the accelerator. In anybody else's hands it's a song that could be described as metal or punk, but there are so many flourishes, so many deviations and any number of ridiculous fuck yous to convention that it can't be labelled. Which is of course exactly how it should be." Kitching called it "an electrifying piece of avant-pop orchestration with Jon Poole's guitar solo (spliced together by Smith from several Poole solos) redefining the term 'incendiary'." "Bellyeye" and