ɹˈaɪɾɪŋ fɔːɹ ˈɔːl mjˈuːzɪk, kɹˈɪɾɪk vˈɪnsənt dʒˈɛfɹiz dᵻskɹˈaɪbz ðɪ ˈælbəm æz ˈeɪ "nˈaɪntidᵻɡɹˈiː tˈɜːn" fɹʌm hˈɑːɹdkoːɹ pˈʌŋk ˌɪntʊ pˈɑːp pˈʌŋk, ænd stˈeɪts ðˈæt "ˈaɪ tˈiː ɡˈɛts sˌoʊ bˈæd ˌɔn nˌɪɹbˈælədz lˈaɪk dʒˈoʊni mˈɪtʃəl tˈeɪps ðæt lˈɪsənɚz mˌaɪt kənfjˈuːz wˈʌn ʌv pˈʌŋks mˈoʊst ɹᵻvˈɪɹd bˈændz wɪð ɐ ɹˈʌnʌvðəmˈɪl nˈaɪnti z pˈoʊstɡɹˈʌndʒ nˈɑːkɔf."
Writing for AllMusic, critic Vincent Jeffries describes the album as a "90-degree turn" from hardcore punk into pop punk, and states that "[i]t gets so bad on near-ballads like 'Joni Mitchell Tapes' that listeners might confuse one of punk's most revered bands with a run-of-the-mill '90s post-grunge knockoff."