Soul Structure

Professional ratings

Review scores
Source	Rating
Echoes and Dust	Positive[2]
Exclaim!	9/10[3]
Ghost Cult Magazine	9.0/10[4]
Punknews.org	[5]
Rock Sound	7/10[6]
Sputnikmusic	4/5[7]

Soul Structure was well received by contemporary music critics.

The album makes use melodic singing counterposed by hardcore punk instrumentals.^[3] Many tracks incorporate vocal elements of alternative rock.^[8] In particular, writer Kieran Mitchell described vocalist Jimmy Wizard's singing as comparable to those used by Jane’s Addiction and Shelter.^[4] Similarly, Metal Hammer writer Luke Morton said that the album "channels the band’s influences of melodic hardcore but sounds like Perry Farrell is on vocals".^[9] Revolver writer Dan Epstein said the album has a "dynamic thrash/crossover sound".^[10] Karol Kamiński of Idioteq.com said the album "is about positive expression of aggression and a form of escapology. It is angry music – but lyrically they convey a lot about themselves as people. It’s about finding a positive outlet for their anger, whether it’s social issues or mental health, it’s adding a social consciousness and depth to what traditionally is quite a one-dimensional genre of music".^[11]

Branan Ranjanathan of Exclaim! described the album as "Combining classic NYHC-isms with grooves and melodic vocals reminiscent of Life of Agony, the unit go to great lengths to establish themselves as different from run-of-the-mill hardcore bands — and succeed".^[3] PunkNews.org described the album as possessing "all the groove of early nineties post-hardcore while also showcasing a musical style that is innovative in the often-derivative hardcore underground".^[5] In an article for Echoes and Dust, the album was described as mixing "East Coast hardcore grooves (think NYHC meets that Boston style) with a looser and more riffy LA vibe a la Suicidal Tendencies and topping it off with a UK hardcore grit".^[2] In an article for Rock Sound, writer David Mclaughlin described the album as "the UK’s answer to Turnstile".^[6] Kieran Mitchell of Ghost Cult Magazine praised the album for "bridging the gap between pop-punk and Nineties New York Hardcore".^[4]