The band's lineup solidified with the 1998 release of Until Your Heart Stops through Hydra Head Records, and their early albums were prominent in the metalcore scene.

The band later experimented with other genres, receiving mainstream recognition for their 2003 RCA Records album Antenna and its lead single "Anchor," which had an overall alternative rock style.

The group went on hiatus in 2006, later reforming in 2009 with the release of the Planets of Old EP, followed by the White Silence LP in 2011, both of which saw a return to Cave In's earlier and heavier sound.

Following that release, the band embarked on a three-week East Coast tour, with a handful of dates supporting Morning Again and Bird of Ill Omen.

Before their next full-length, Cave In began experimenting with their sound offering Creative Eclipses, a five-song EP which indicated a space rock direction the band would then pursue for several years, as opposed to their metal roots.

The band began to revisit their metal roots during concerts, and started writing heavier material, which ultimately led to a mutual agreement to cut ties with RCA Records shortly after.

Following the release of Perfect Pitch Black, Conners departed from the band, due to an injury and temporarily relocating to Germany, and was replaced by Converge drummer Ben Koller.

[4] According to postings on Hydra Head Records website news, Adam McGrath was temporarily listed as "ex-Cave In guitarist" in his new band Clouds.

Commenting on the duration of recording, Steve Brodsky stated, "we didn't really wanna make a big deal out of it.

"[7] Looking forward, Brodsky announced in a January 2010 interview that Cave In will be more selective about their touring schedule, and that future releases from the band might be more focused on a digital medium.

[10] Shortly after tours in support of White Silence, Cave In entered an undeclared-hiatus state as all of the band members shifted focus on their other respective projects.

The 2018 shows also featured an encore set of Zozobra songs, performed by a revolving lineup of musicians who had participated in that project.

The album is composed of practice-space demos that all feature contributions from Scofield and were finished with mixing by Andrew Schneider and mastering by James Plotkin.