In an interview with Howl & Echoes, the band described IV's conception and recording process:[4]
Since we recorded and released III, we’ve been writing tons and tons of stuff inspired by all different sources. We were touring heavy after the release so we got exposed to a huge range of really talented artists at different festivals, and had many friends putting us on to great music from the past also. We wrote a whole batch of songs that were instrumentals early on in 2015, and recorded a few of them. After sitting on those for a while we decided to start from scratch, so starting in fall 2015 we began writing and recording the songs that became IV. We had a bunch of sessions booked with the very talented artists that appear on the album, and had some amazing creative times with them. There was no defined direction when we started, and we reached a point when we had so many different styles of song that we didn’t know what the album would even sound like all together! For a while we were still going to make it an all-instrumental album, and then we tossed together a salad of some of the amazing featured tracks, along with some instrumentals and it ended up working out!
With the album's cover art, Katie Hawthorne of The Skinny said: "Every single instrument used is listed with pride on the record's cover, and the [band] stand chests bare, towels around waists, bro-ing out."[2]
IV received favorable reviews from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 77, based on 16 reviews, which indicates "generally favorable reviews".[6]
Mackenzie Herd of Exclaim! praised the album, stating, "Each song possesses rhythmic and melodically intricate properties that sound somehow both rehearsed and spontaneous. So, while IV is extraordinary for delivering fresh music that elaborates on their past work, it feels particularly exceptional because of its forward momentum."[10] Paul Simpson of AllMusic gave the album a favorable review, stating, "It's easy to see why BBNG are the type of jazz group that appeals to people who normally don't care for jazz. They're music lovers, first and foremost, and they're directly in tune with what's happening in the music world. They blend numerous influences and don't conform to any traditions. More than anything, their music is exuberant and immensely enjoyable."[7] Carl Purvis of No Ripcord praised the vocals of Herring and Wilson, concluding that: "BBNG have always been fluent and sonically articulate, but enlisting the talents of suitable vocalists to thicken their smokescreen strengthens their suit."[16]
Jamie Milton of DIY was more critical of the album, stating, "There’s not a great deal tying these songs together, aside from BBNG’s pursuit of the new. Collaborations aren’t here to generate headlines or set pulses racing - each serves its own noble purpose. Taken on their own, each track solidifies the group’s wild imagination, but IV is tough to stomach as the free-flowing, full-bodied juggernaut that it is."[9]
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