of some of Gessle's solo records (with echoes of Cocteau Twins)". The writer complimented it for containing "smart choruses and nice details from pop history", before concluding that if Good Karma was their final record, Roxette were ending with "their flag flying high". Brendon Veevers of Renowned for Sound gave a glowing review, saying it contains some of the best material Roxette released in the latter part of their career. Writing for Cryptic Rock, Alfie Vera Mella described the album as being a "perfect" release to celebrate the duo's 30th anniversary, while Tyler McLoughlan of The Music praised Gessle's songwriting for an abundance of hooks. The staff of Mittelbayerische Zeitung rated the album "impressive", praising "Why Dontcha?" and "From a Distance", while laut.de writer Kai Butterweck said: "Good Karma isn't a record that will change the pop world, but a solid nod to the past." He elaborated by stating that "Marie and Per pop their way through their own archive quite solidly". Despite this, Butterweck said "A little less synthetics in the sound would have done the album good. But by and large, Roxette still sound like Roxette in 2016." Similarly, Stephen Thomas Erlewine of AllMusic complimented the album for an increase in tempo as compared to the rest of their later work, but said on Good Karma the duo "deliberately excise the fizziness that fueled their big hits all in a conscious attempt to play toward their middle age. In that regard, Good Karma is a success—it's a mature Roxette album that doesn't disavow their past—but it's hard not to miss the bubblegum Euro style of Look Sharp!" The record received some mixed reviews as well. Nils Hansson of Dagens Nyheter said Gessle and the producers sought to appeal too much to young Electropop fans, "with digital loops, EDM beats, autotune voice and rave synths". Hansson additionally complained Fredriksson did not contribute vocals to more songs. Gaffa reviewer Jesper Robild argued Roxette initially found success as a result of their songwriting talent and criticized the amount of producers credited, saying: "More people than usual are involved, and Good Karma is obviously coloured by today's pop and dance music. Gone are all the interesting distorted guitars and drums, replaced by new elements such as electronic beats, Auto-Tune/vocoder and similar unbecoming ingredients." Despite this, he praised Fredriksson's performance and said the album would have sounded better with more organic instrumentation. Stuff