[9] The album title makes reference to the way the tracks were constructed, as Stephen Lawrie explains in an interview with American music journalist Todd E. Jones, "We'd allow each other to freely improvise the structures, recording everything to wave files and cutting away at each texture to let in different shades".

[13] For Lawrie, the album was in part a reclamation of proper artistic freedom and identity, rejecting formulaic and repetitive processes in composing records.

[15] In addition, some of the gear used aside from vocals include but are not limited to the farfisa, sitar, Casio, 303, cello, violin, software, tabla, flugelhorn, theremin, a prayer box, tape delays, double bass, vibraphone, clarinet.

[9] The album has been lauded as a testament to Lawrie's innovative experimentation of computer technology[16] which were contemporary at the time, outside of the restrictions of a formal music studio.

"[13] The release was also championed by BBC Radio1's the late John Peel, for whom they recorded two sessions,[19] supporting their return and Third Wave, exclaiming “The Telescopes have resurfaced and I am amazed and glad they are still practicing their mysterious art.”[20][21][22] For their 2021 Weisskalt vinyl, the album was lauded as one of the best reissues of the year with Norman Records[23] observing its anniversary and relevance in rock music history, "Next year will see The Telescopes' 'Third Wave' celebrate its twentieth birthday.