The album was written during a traumatic period in Lilys frontman Kurt Heasley's life; His partner disappeared after a psychotic episode and returned to her family leaving Heasley to look after his three children. Heasley therefore worked on the album mainly at home in his spare time. The recordings were then sent to producer Michael Musmanno, who finished the tracks with session musicians.
Jason MacNeil of PopMatters described the album as (along with previous album Precollection), "the closest thing to Britrock from a Yankee band I heard in a long time", going on to say "There are too many things right about this album to make you believe it's imaginary". Patrick Rapa of the Philadelphia City Paper described it as "one of Heasley's finest yet—10 occasionally noisy, often catchy rock songs". Marc Hogan of Pitchfork Media opined that "much of the record's beauty lies [in] its dizzying production", but wrote that it "never quite feels like the career-culminating record it should be." Mark Edwards of the Sunday Times identified the album's diversity as one of its strengths. Eugene P. Sorricraft from the Highbold Press declared it, "a wonderful expulsion of everything that is otherwise lacking in this sad world".