Nina Power recensisce il disco su The Wire [no. 372, Feb. 2015, p. 45]:
The first two chapters in the series fell somewhere between, above and below free jazz. Her «panoramic sound quilting», as she describes her method, created historical narratives with multiple instrumentalists, operatic incursions and the persistent reminder of musical and historical debts. But this third chapter sees Roberts in solitary, vocal-heavy mode, without an ensemble but producing looped music of such sustained complexity it’s like a host of angels (and demons) attempting to express the entire history of everything all at once.
River Run Thee tells a complex and devastating story. It draws upon folk traditions, the history of jazz – though how far Roberts’s work remains within this genre is an open question – religion, personal accounts, the galling cold realities of the trade in human lives, but also resistance to these so-called realities. The final track “JP” begins with a set of definitions of legal versus illegal slave trades, and ends with two fragments from a 1965 Malcolm X speech, Confronting White Oppression, where Malcolm X introduces himself – “Distinguished guests, brothers and sisters, ladies and gentlemen, friends and enemies” – and another which fades out to the end of the record – «So before I get involved in anything nowadays, I have to straighten out my own position, which is clear. I am not a racist in any form whatsoever.»