The ballet focuses on "contemporary rituals" and revolves around twenty-three scenes inspired by "founding myths that shape the collective imagination".
Unlike the work of the duo and of Bangalter in earlier previous solo efforts, the album is not electronic and is entirely orchestral, focusing on Baroque music and American minimalism.
Bangalter studied and read classic treatises on orchestration and abandoned writing with the keyboard, how he normally wrote compositions with Daft Punk, to avoid limitations in composing.
The press release of the album included a drawing of Bangalter's unmasked face by Vulture Magazine illustrator Stéphane Manel.
[13] Pétra Wauters writing for the French arts and culture magazine Wukali called Bangalter's compositions "brilliant" and talked of Preljocaj's choice of uncomfortable themes.
[15] Jane Bua of Pitchfork, reviewing Bangalter's soundtrack album, spoke positively of his compositions, saying it "sounds like the work of an artist stepping out of his comfort zone in search of personal creative fulfillment.