The album was released in January 1997 on Rise Above Records and was produced by Rolf Startin, Mike Hurst and band member Jus Oborn.

The songs on Come My Fanatics… were described by Lee Dorrian, Rise Above Records owner, as breaking from the traditional doom metal style, with an unpolished and chaotic approach.

The thematic elements of the album draw from 1970s horror films, biker movies and the writings of H. P. Lovecraft; there are three songs about leaving Earth to avoid an impending environmental disaster.

Come My Fanatics… continued to receive praise in retrospective reviews, with Terrorizer declaring it "the wake-up that the UK doom scene needed" and Dorrian describing it as "the turning point of everything".

[2] AllMusic editor Eduardo Rivadavia described the album as "impressive" but considered Electric Wizards music to be "pretty standard doom fare for the time.

The horror film samples came from video nasties passed under the table at the market stall in Wimborne in Dorset, where the members of the group lived.

[6] Rise Above Records owner Lee Dorian stated that the group's sound on the record "somehow managed to break the mould of traditional doom metal", noting that previous doom metal groups are "very morose and slow and heavy which can be very off-putting" while Electric Wizard had a guitar sound that had a "completely unpolished approach to the way they present themselves".

Dan Franklin, writing for The Quietus, stated the group's style of music was "completely contrary to the surprisingly spiritual tendencies of Trouble and others", noting its "thick, chaotic and crushing sound".

"[7] Oborn also said Come My Fanatics... was conceived as a "piece of escapism", developed from an "insular, underground feeling that we were heading to our doom as a planet and no-one overground had a fucking clue about it".

He stated that final three songs on the album, "Ivixor B / Phase Inducer", "Son of Nothing" and "Solarian 13", were a concept about leaving Earth because it was "so fucked up".

[9] The label's founder Lee Dorian had previously tried to promote doom metal music in the United Kingdom through compilation albums such as Dark Passages, featuring bands including Penance, Revelation and Mourn, to define a British scene.

Terrorizer echoed these statements in 2012, calling the album "the wake-up that the UK doom scene needed and proved it wasn't just about frilly shirts and gothic morbidity".

[4] To create the cover, Oborn paused his videotaped copy of the documentary and traced the image from his television screen; he added the space background later.

"[14] From retrospective articles and reviews, The Guardian said, "Oborn’s vision of creating the heaviest music imaginable was put firmly into practice for 1997’s still astonishing Come My Fanatics … , a record that was so devastatingly slow, heavy and obnoxious that it made everything else around it sound anaemic and pedestrian".

[15] AllMusic called it "absolutely colossal" and "essential doom", noting it was "somewhat less immediate than its predecessor ... even the most experienced of metal heads couldn't help but be overwhelmed by its power", and that tracks such as "Doom-Mantia" and "Son of Nothing" would "test the patience of uninitiated listeners before drifting into focus through billowing clouds of smoke, but the ultimate religious experience is well worth the lengthy conversion process".

[6] In an overview of the bands discography, Harry Sword of Noisey declared that Come My Fanatics... was when Electric Wizard "really hit home, its turgid doom imbued with sleazy cosmic reach and a blackened punkish energy."