The production of the album was handled entirely by John Goodmanson with the majority of the lyrics composed by the band's singer and frontwoman Ryann Donnelly.

The album received positive reviews from music critics, who praised Donnelly's singing, the often melodic composition, and the morbid themes expressed on the project.

Following the release of Schoolyard Heroes' sophomore album, Fantastic Wounds, the band had begun to find commercial success in not only the Seattle rock scene, but in Olympia and other cities in Washington.

[3] The band had generated enough interest to eventually be signed to Stolen Transmission, an imprint label of Island Def Jam Music Group.

And "Cemetery Girls," is about all of the men just dying, for no apparent reason, and these women are rising up and taking over the world, and it's sort of the mixture of emotion that comes with things ending.

[4] Bergman stated that while the album goes go over dark topics and contains graphic imagery, the band wanted to offer the listeners something positive in nature.

[4] The band spent their loose time watching episodes of classic horror series like The Twilight Zone and The Outer Limits.

[3] The track opens with the disturbing refrain of "take off your skin and dance with me" with Donnelly screaming in an operatic manner, over eerie guitar riffs.

[11] "Children of The Night" features a chugging guitar in the style of math rock, with a percussive breakdown with eerie gothic moaning.

[10] Donnelly asserts that her "lipstick tastes like murder" on "Razorblade Kisses" which contains guitar playing in the style of post-hardcore music.

[5] "Beautiful Woman Hunter" offers a showcase for Brian Turner's drums and cymbal performance, and Steve Bonell's guitar which shifts from slower portions to a chaotic, punk-ish breakdown.

[8][11] Album closer "Screaming "Theater" in a Crowded Fire" begins like a musical at first, and then transforms into a showcase for Bonell's continuously evolving riffs.

[9] The track is a macabre love song between a murderer and her victim, and contains the only time on the album when Donnelly and Bergman trade verses outside of a chorus.

[12] The track features the two intimately singing together, with Bergman shouting the visceral line "you smeared my blood like a whore's mascara" back at Donnelly.

[7] Website Three Imaginary Girls commented that the production on the album was pristine and mature, with the songs "teeming with sinister chords and spine-tingly good vocals.

"[8] Blake Solomon of AbsolutePunk noted that he wasn't generally a fan of horror imagery, but commented that "the tales told within Abominations can get gruesome, but the flair and range of near-undead songstress Ryann Donnelly gives me just enough courage to continue on, soiled underwear and all.

"[10] Allmusic reported that the album "is full of surprisingly catchy songs, which shouldn't imply even remotely that the Schoolyard Heroes have turned pop.

The angsty, horrorshow feeling of both the lyrics and the sonics are heavier than ever, belying both the appearance of the band (who look like art school geeks) and the immediate appeal of the music.

"[12] Hannah Levin of Seattle Weekly wrote that the hiring of John Goodmanson was a wise decision, commenting that his production "revs up the band's inherent vitriol and pageantry while razor-tuning the goth-pop notes for broader appeal without blunting the edges.