"[15] The 7" of the single was released on 3 April, with a cover of "This Perfect Day" by The Saints – featuring Amy Taylor of Amyl and the Sniffers and Sean Powell of Surfbort – as its B-side.

[16] On 12 August 2020, the band premiered a new version of the track "Legal Ghost": a "sprawling, experimental cut" originally recorded by Liddiard during the 1990s for his Bong Odyssey project with former Drones member Rui Pereira.

"[21] "It’s endless", he continues, "If you run out of ideas in the moment, but then just write things like ‘Hungarian Folk Music’ into Spotify, all of a sudden, you’ve just got all this shit that’s come at you from an angle you never knew existed.

[22] On 4 September 2021, the band were asked to guest programme an episode for ABC's Rage; their "favourite music clips from past years plus the ones they channelled for their [...] third album" included those from Genesis Owusu, Rihanna, Lil Nas X, Madonna, Dolly Parton, Laura Jean, Le Tigre, Dirty Three, Xylouris White, Laughing Clowns, The Jesus Lizard, Fugazi and many others.

[12] Mike LaSuer of FLOOD magazine describes it as "a verbose diatribe on the never-ending cycle that is the irresponsible media that fuels our stupidity, which in turn fuels the irresponsible media, all undergirded by queasy instrumentals continuing on the band’s path to (literally, in this case) invert summer bangers and discover experimental procedures [...] for distancing themselves from their aggressive hard-rock origins.

"[24] "Not so much melding psychedelia, hip-hop, noise punk, gutbucket blues and some sort of art music from another planet as throwing elements of each against the wall and utilizing what sticks," writes Michael Toland for The Big Takeover, "[the band] channel a year of frustration, boredom, fear and rage into a set of savagely sarcastic songs.

'"[15] "Bumma Sanger" (a spoonerised form of the term "summer banger") was described by Liddiard as a song "about the pandemic and it’s [sic] travel restrictions.

[28] "Reporting of a Failed Campaign" was called by Liddiard "a pretend Bob Dylan epic about people like Jeffery Epstein and Murdoch and the media whores from Fox News.

[30] "New Romeo Agent", written and sung by Erica Dunn, was conceived lyrically as a continuation of the Octavia E. Butler short story "Amnesty".

[6] "Legal Ghost" – a song that Liddiard considers to be the first he'd ever written of a "higher standard" "as far as songwriting goes" – deals with "mortality and early death, and its impact on a sense of place.

"[6] The closing instrumental, "The Confinement of Quarks", is "a warped slice of '80s nostalgia that bleeds warmth and melancholy in equal measure, making for a wistful closer.

"[6] The opening of the track consists of a sample of Holly Near's "Come Smile With Us"[32] and was itself salvaged by Liddiard from "the spare parts department [...] we [...] thought it had that heroically epic yet cheap and nasty sound that the theme from the original Terminator films had.

[34][25][33] The fourth single, "New Romeo Agent", was released on 20 July; its music video depicts the members of the band "performing as captives in an alien dive bar.

"[35] The fifth and final single the band released from the album – on 10 August – was "Bumma Sanger", accompanied by a "surrealist" music video directed by Oscar O'Shea which features work by Tasmanian artist Georgia Lucy.

[38] The 9-date tour, which included performances in cities such as Melbourne, Sydney, Brisbane and Perth,[39] has thus far been postponed twice due to lockdown travel restrictions in Australia: the first one was announced two days before its scheduled commencement and saw it being pushed back to 9 September;[40] the second one was announced in mid-October after a series of date cancellations, with the tour currently set to commence on 7 January and end on 12 February 2022.

[44] MiloRuggles praised the album as "a series of meticulously choreographed explosions, and sifting through the detritus for specific highlights presents a unique challenge in that as soon as you pick one thing up to look at, something else catches your attention."

"Deep States" he writes, "avoids stuffy intellectualism or political buzz words in its approximation of modern woe, and becomes an engrossing distillation of just how fucking bizarre the world is as a result.

"[29] Liam Martin wrote that the album "encompasses more than isolation-induced insanity, the interdimensional prism through which their sound is filtered reflects a feeling of powerlessness in the face of an ever stranger, information-overloaded reality.

"[6] Annie Toller of The Sydney Morning Herald described it as "a Pynchon-esque whirlpool, the band sucked into a state of apathy and mayhem – but at least they make it sound fun.

Elvis Thrilwell of DIY called the album "a difficult listen at times", its songs described as "merciless barrages of ear-splitting shreds; crunching, skin-crawling rhythms that bore into the skull’s fragile surfaces; to top it all off, a lyrical parade of grimly ghoulish imagery, tackling, without censure, the psychological fall-out of the pandemic.

Any sense of wacky, lo-fi appeal, or krautrock-ian spectacle has been quashed by Gareth Liddiard’s unintelligible, deep-fried vocal delivery and some very distracting production choices."