Production for the album took place during 2008 and was handled by several record producers, including RZA, Bronze Nazareth, Preservation, Mathematics, Black Milk, Arabian Knight and True Master.

I remember once we paid $150,000 for a Trackmasters beat once, with Ron Isley singing, the “Back In The Game” track off of Iron Flag, and it wasn’t even a single, so I don’t bother searching for names.

[1] In the same interview, he gave a response about having only a few RZA-produced songs on the album, stating "Well, you have to put in time with your producer, and RZA and I have been working back since I was 11 & he was 8 going to the Bronx to check out this hip hop stuff, so you have to know where they are coming from.

[6] AllMusic writer David Jeffries gave it 4 out of 5 stars and viewed it as reappearance of the Wu-Tang Clan's early sound, stating "the uptempo and sometimes oddball rhymes are back in full force here and sit on a set of melancholy soul productions that have that classic Wu atmosphere".

[19] Seattle Weekly's Kevin Capp praised GZA's lyricism and wrote that he crafts "earthquake-proof rhyme structures, steel hulks whose ornate décor distracts from their essential solidity.

[12] Boston Herald writer Chris Faraone gave Pro Tools an A− rating and wrote that GZA "comes as close as he ever has to matching freshman miracle" Liquid Swords (1995).

[8] In contrast, Spin's Thomas Golianopoulos gave the album 2 out of 5 stars and wrote that GZA "drifts into irrelevant lyrics and weak beats", stating "These C-grade tracks ape RZA's trademark sound, but lack any sense of melody".

[21] Giving it a 6/10 rating, PopMatters writer Anthony Henriques perceived a lack of presence by other Wu-Tang members "to complement and add contrast to GZA’s potent style" as its "largest flaw", but ultimately commended its production and called it "just as impressive" lyrically as Liquid Swords.

[11] Despite calling its production "a glaring weak point of the album", Sputnikmusic writer Sobhi Abdul-Rakhman gave it 3½ out of 5 stars and commended individual producers' contributions, while writing "GZA-science is always refreshing and reflective".

But high-energy anthems aren't what made GZA great in the first place, and if you're into his most characteristic attributes—high-concept extended-metaphor lyrics, hard-boiled storytelling, that calmly authoritative voice—Pro Tools is still sharp enough to draw blood.

[14] Tiny Mix Tapes writer Larry Fitzmaurice gave the album 3½ out of 5 stars and wrote "while its power as a long-player doesn’t hold up very well, random dissection brings out tracks destined for analog and digital freaks alike".

Club's Nathan Rabin called the album "so rich in detail that it takes a few listens just to soak everything in", and commended its sonic sound, stating "GZA relies on production to convey emotion".

[9] The Village Voice's Christopher R. Weingarten called the album "a no-nonsense mash of classic Gary Numan breakbeats, swipes at 50 Cent, retro-future noir production, and his inimitable puns".