[2] Set Your Goals posted a demo of "This Very Moment" on their Myspace profile in May 2005; shortly afterwards, they toured the US with Life Long Tragedy.

[6] The Warriors A&R person worked for Eulogy; around this time, Set Your Goals were talking to other labels, such as Abacus Recordings.

[9] Brown was previously aware of him through his work on I Am the Avalanche's self-titled (2005); the band lived in an apartment in Washington.

[9] Set Your Goals are influenced by older melodic hardcore bands such as Lifetime and CIV, with elements of newer acts like the Movielife, New Found Glory,[10] Rufio and Bodyjar.

Additionally, the vocals are akin to those sung by New Found Glory, and the chord progressions sound very similar to those performed by Lifetime on their album Jersey's Best Dancers (1997).

[13] Discussing the album's title, Brown explained how they were a "young, impressionable band", being told to alter their songs, and its "like a coming of age [story] and being like, 'Hey, we’re old enough to make an impression now, let’s takeover.

[7] "Work in Progress" begins with an acoustic intro,[11] before it builds "into an abrupt explosion of electric power and force".

is about the music industry and an unnamed individual from an independent record label who told the band they needed to write more choruses.

[2] The song's spoken word section is taken from one of Brown's essays; it was initially longer in length, before being trimmed.

[12] "This Song Is Definitely Not About a Girl" is about the misinterpretation of "Latch Key", an older track on the band's self-titled EP, which people mistakenly thought was about a relationship.

[16] Brown said he had been raised in a Christian household, "but it was time we cleared things up, as my beliefs have obviously shifted immensely from what I had been taught".

[24] On December 24, 2007, the band announced that Yoha had left Set Your Goals as he no longer wanted to tour full time.

[26] Set Your Goals were contacted by Etypical Films in December 2006, who was interested in making a music video for one of the album's tracks.

The band put up a poll in Myspace for which one to make a video for, and while they tried to raise funds to shoot both "To Be Continued..." and "Echoes", the latter was ultimately done.

In the U.K.; it consists of footage from their 2007 European tour, shot by videographer Ben Thornley of production company Sitcom Soldiers.

[41] Some of the shows were cancelled when the band were involved in a van accident where they hit a deer, damaging their vehicle in the process.

[45] They recovered in time to support Anti-Flag on their War Sucks... tour in late March and April, and played a series of shows with CDC.

[58][59] They played a handful of Midwest and West Coast shows with I Am the Avalanche, Hit the Lights, 2*Sweet, and the Years Gone By.

[62] They performed at the LiskFest festival in California, prior to supporting New Found Glory on their tour of the UK in November 2008.

They're tackling selling out, being force-fed religion, maintaining relationships with family and friends, and taking risks in life.

"[16] AllMusic reviewer Corey Apar said that while the album begins with "a somewhat misleading start" during the intro of "Work in Progress", the group "never lets up" throughout the remainder of the record.

He noted that the band performs with enough urgency and passionate energy that they "remind tired ears what can be so great and engaging about simple punk music in the first place".

[67] Ox-Fanzine writer Lauri Wessel complimented the "pleasant way" in which the group combines "melodic punk rock ... with old school hardcore".

[66] He singled out "Work in Progress" and "An Old Book Misread" as examples of "rousing" energy, joined by "good melodies" in the verse sections, typically "dissolv[ing] into beautiful singalongs in the choruses".

[66] Sputnikmusic staff member Nick Greer applauded the mix of hardcore and pop punk, calling it "deadly catchy" and coming across as "incredibly fresh and enjoyable".

[11] Though his "immediate reaction" to the majority of the material was "overwhelmingly positive", he lost interest after a few playbacks, highlighting the centre of the album where it "drags after repeated listens".

[73] Similarly, NME listed the title track as part of their Essential Pop Punk Playlist.

[74] In 2015, Wilson revealed that Eulogy Recordings had not paid the band any royalties for the album or merchandise sales.