"Spin" published a glowing review of the album in their November issue. Discussing "Peek-a-Boo", critic Tony Fletcher said that it's "mood fell in perfectly with their beloved London's summer fascination with the sparsity and confusion that call Acid House, Psychedelic and how!" He described the music of "Peek-a-Boo" as "a crazed assortment of fairground accordions, abrupt horns, distant to-and-fro vocals-exotic, erotic, a dancefloor winner for sure and all of three minutes short." Fletcher also hailed the other tracks, noting "an almost lilting reggae feel to the beginning of "Killing Jar", a fragile, waif-like Siouxsie backed only by translucent guitar and a keyboard bass on the brief "Rawhead and Bloodybones", and a delightful, majestic ballad the likes of which it had been a safe assumption was beyond their reach on "The Last Beat of My Heart". [...] As Peepshow ends with the drawn-out "Rhapsody", Siouxsie's operatic flings seem to be a celebration of her reawakened capacity to thrill." Fletcher concluded: "She and the band sound as confident, abandoned and excited as when they started". In "Stereo Review", the album was published in the column "Best of the Month". Reviewer Parke Puterbaugh wrote that the record was "a fascinating plunge into the subconscious" and was "Dream-like" and "hypnotic", further emphasizing, ""Peepshow" brims with nonlinear logic, compulsive rhythms, and icy, crystalline textures." The critic concluded his review, qualifying it as an "utterly unconventional and thoroughly intoxicating album" [...] "a transcendent feat: They are not playing music, the music is playing them".