Freewave Lucifer Fck Fck Fck

The sense of isolation caused by the COVID-19 pandemic was an inspiration for the record,[1] which takes a cut-up technique approach to its lyrics and titles.[2]

Freewave Lucifer F<ck F^ck F>ck received a score of 68 out of 100 on review aggregator Metacritic based on five critics' reviews, indicating "generally favorable" reception.[1] Reviewing the album for Pitchfork, Jude Noel described it as "another snapshot of the band in a state of manic deconstruction, retooling 2020's hooky, '80s-inspired Ur Fun into a labyrinthine dance-rock collage" as well as "unabashedly geeky, restless, and stuffed with enough Barnesian minutiae to satisfy even the most dedicated fan".[2] Marcy Donelson of AllMusic remarked that the album "organizes its patchwork segments into a more digestible seven tracks, even if they do play out like a continuous DJ mix somewhere around the midway point", also calling it "a shape-shifting and ultimately surprisingly (if not entirely) listenable and cathartic sequence of tracks".[3]

Scott Dransfield of Under the Radar wrote, "imagine, if you will, a newly consistent cannabis high, crossed with pandemic paranoia, with a dash of overindulgent avant-garde art consumption and the ADHD spectrum, and you might get close to the mindset that produced Freewave Lucifer F<ck F^ck F>ck".[5] Ryan Dillon of Glide Magazine summed the album up as a "7-track expedition that has the Georgia-bred artist experimenting with dark tones and new textures".[6] PopMatters' Chris Conaton found it to be "not the sort of record that is going to appeal to a wide audience. Even among Of Montreal fans, it's likely listeners who enjoyed the esoteric experimentation of albums like Paralytic Stalks and White Is Relic/Irrealis Mood will be fully into this one".[4]