[1] In a 2002 interview, Jenny Lewis noted that the band had already been fans of the Omaha music scene, having purchased Bright Eyes’ Fevers and Mirrors the previous year.

“This one better reflects how we play live.” The recording sessions took place over several weeks in March 2002, with Lewis describing the studio environment as cold and alcohol-laden, which influenced the emotional tone of the album’s performances.

[2] Expanding on their previous sound, which mostly incorporated guitars, vocals, percussion, and pianos, the album contains electronic samplings mixed into the songs in a rather unusual and displaced-sounding way.

Musically, the record has a very sunny disposition, with bouncing bass lines and catchy melodies complemented by lead singer Jenny Lewis's vocal style.

[1] Paste Magazine noted "the album's continued reverberation in a new generation of contemporary artists and listeners" and praised its treatment of mental illness, trauma, and gender.

She saw how well the album fit in a culture "more prone than ever to accommodate piercing, honest lyricism about issues of mental health," which was partly driven by its impact.

"[19] In a Talkhouse essay released the following year, she wrote of feeling "a massive surge of enthusiasm and revelation" when listening and realized "that I really wanted to make music myself."

[20] Harmony Tividad, bassist for former duo Girlpool, called opening track "The Good That Won't Come Out" one of her all-time favorite songs.