The tracks are all instrumental, although other versions of "The Unnameable" and "Bugs in Amber" (re-titled "Moot") have been performed with vocals live,[4] and recorded in session for the BBC 6MusicFreakzone programme.[5]
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".[2]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".[1]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".[3]
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