When they released their second studio album Drawn to the Deep End in 1997, it was a commercial success, but did not meet the label's expectations.

Revelations was compared to the band's debut studio album Olympian (1995), though lacked the Smiths influence found there.

Revelations received mixed reviews from critics, some of whom commented on the production, while others highlighted frontman Martin Rossiter's lyrics.

Preceded by a tour of the United Kingdom in late 1998, "As Good as It Gets" was released as the lead single from the album in February 1999.

"Love Won't Work", "Mayday" and "You'll Never Walk Again" were mixed at The Pierce Rooms in London with assistant Neil Aldridge.

[5] Though the label told the band they only had a month to make the album, the recording and mixing process took seven weeks in total to complete.

[7] Aidan Reynolds of Drowned in Sound wrote that the album "moves the band's palette from aggression to outright rage, stripping the songs back to their skeletal forms and adding political fury to Rossiter's already bright fire".

[5][9] "Fill Her Up" features Spanish-lite horns, courtesy of Lorimer; "Something in the Water" is a slow-building song akin to the material on Drawn to the Deep End.

[12] In October and November 1998, Gene embarked on a short tour of the UK, where they debuted material from their forthcoming album.

[18] Revelations was released by Polydor Records on 1 March 1999; the same day, the band promoted it with a performance at the flagship HMV store in London.

[23] Gene opened 2000 with a short UK tour; following this, they headlined the National Student Music Awards, where they were supported by Toploader.

The Independent's Tim Perry said that even with a "slight revamp," Revelations was not "going to win many new fans, and unless you can tune into Martin Rossiter's often bleak world-view, this sounds very dated".

[9] Kellman thought the band "deserve credit for fearlessly maintaining an emotional edge that so few of their peers in the British scene lack or avoid".

[7] Clash's Gareth James saw it as an "intriguing collection, of leaner lineage than its predecessor", featuring "several of their very finest songs".