For Batbox, Miss Kittin teamed up with producer Pascal Gabriel, who had previously worked with Kylie Minogue, Boy George and Sophie Ellis-Bextor. The album was recorded in Pascal’s studio in London over several months in 2007. Of the title, Miss Kittin stated, "BatBox is a redemption. Let the bats in my head fly out. I was saying goodbye to old ghosts."
Jason Lymangrover, writing for Allmusic, commented, "As she emerges from the broken cocoon of Detroit and German techno influences into a unique artist of her own -- one who is slightly experimental but never lacking a head-bobbing hook -- it's hard to argue when she quips, 'Frenchies do it better.'" John Burgess from The Guardian stated, "Her charismatic approach made her a major electroclash figure, and she has sustained her cult status. This is unlikely to change, despite a more pop approach for Batbox [...] The music remains niche, industrial and Teutonic, over which Hervé delivers idiosyncratic observations on her life and gothic pursuits." Quentin B. Huff of PopMatters noted that the album "could have been bigger, brasher, and bolder. But, all things considered, it still amounts to a full load of goodies and a heck of a ride."
Conversely, Resident Advisor's Stéphane Girard said that Miss Kittin "occupies an ungraceful and uncomfortable middle ground between Chicks on Speed and Ellen Allien, and BatBox, unfortunately, won’t really do anything to change that nor rally anyone to her solo career’s cause.URB felt that "as a concept the album fails miserably, but taken as individual tracks there are some that transcend, the brooding ‘Lightmaker’ or the nicely melodic DJ friendly track ‘Playmate of the Century.’ In addition, Luciana Lopez of XLR8R opined, "Even the glossy, high-quality production can’t give this album the energy to rise above the middling bar it sets for itself."