The album is a decidedly significant departure from her previous work, utilising an experimental framing device in which each song correlates to a single body part. With this, Spalding stated she hoped to distance herself from the identity of a "musician" and associate herself with an unbound experimentalism that cannot be categorised.[4]
Lucas Phillips of Boston Globe commented "Weird is too often a cover for mediocrity or an epithet meant to describe what is foreign to us. Sure, Esperanza Spalding’s new music and video project, “12 Little Spells,” is weird. Weird like seeing the inside of the singer-bassist's eyeballs and an animation that for all the world resembles a uterus dancing to the beat. The music and lyrics lean in similar directions. But that isn't a cover for mediocrity, nor does it represent anything so unfamiliar".[15]
Libby Cudmore of Paste added "Musically, there is nothing constrained about her performance as a vocalist or a bassist. It’s extremely organic, as though each song is unfolding right before you, rather than after laboring in a recording studio... This is not dinner jazz, but no one who picks up an Esperanza Spalding album expects it to be. Her voice and her bass are a listener’s guide on a tour with no map and no destination, but where wonders abound".[11] Writing in Echoes, Adam Mattera singled out specific tracks for merit: "Touch In Mine" renders everything Solange has been retreading over her last couple of albums somewhat redundant, while in some alternate universe you could even imagine the Chic-in-outer-space groove of "You Have To Dance" being a hit". John Pareles and Jon Caramanica of The New York Times listed the album as the fourth best album of the year in the publication's 28 best albums of 2018 list, stating that in spite of "devious melodies, odd meters and cleverly interlocking patterns", Spalding achieves complex insight with "such breezy charm that the songs come across as lighthearted, [and] even lightheaded".[16]
[5]
