The tracks are all instrumental, although other versions of "The Unnameable" and "Bugs in Amber" (re-titled "Moot") have been performed with vocals live, and recorded in session for the BBC 6MusicFreakzone programme.
The album was favourably received by the British broadsheets. The Sunday Times stated that "Get the Blessing care little for the rule book: “wonky rock-jazz” is how the Bristol quartet sum up the sax and trumpet interplay. There’s a cool intelligence at work... Deamer lays down the firmest of beats without drowning his colleagues in the backwash. One of the quirkiest British releases of the year".The Guardian noted that "this follow-up... cuts the excellent Judge and McMurchie a lot more solo slack, while sustaining the strength of the composing, the deafening dancefloor drive and the ensemble inventiveness", and summed up with "This is a really varied and inventive genre-crossing set".The Independent felt the band "sound even more live and dangerous on this follow-up" and "like Big Air, the horns now take their thrashy/delicate influences from the Balkans as much as free jazz".