's final album as a rock band, with further releases being made as a solo project fronted by Brendon Urie.

It is a reference to the central idea of the album, which was inspired by lead singer Brendon Urie, and drummer Spencer Smith's home city of Las Vegas.

There was a lot of hostility, but over the past couple years, I’ve started to get rid of that cynicism and see it in a new light [...] I wanted to celebrate it."

He penned much of the album's lyrics in the city itself: "There's some glitz, some glamour, but there's also the dingy, old Vegas side to the music."

The first track, "This is Gospel" (written by Urie and bassist Dallon Weekes), talks about Smith's drug addiction.

The original demo sat on Urie's laptop for months before he finally shared it with the rest of the band.

[2] The album's lead single, "Miss Jackson", was written about Urie's first sexual experiences during his youth.

No matter where you meet a stranger, be careful if they are too friendly" taken from the 1961 public domain anti-gay film Boys Beware.

On October 14, 2013, 6 days after the album was released, the band announced a Too Weird to Live, Too Rare to Die!

The album's cover art features a black and white photograph of vocalist and guitarist Brendon Urie smoking a cigarette emitting rainbow-colored fumes.

Drummer Spencer Smith and bassist Dallon Weekes appear in photographs within the album's supplemental artwork.

Regarding the decision to feature a photograph of himself on the cover, Urie noted, "I love being the center of attention, I'm shameless about it.

He was owning the desert, he didn’t give a fuck, and the smoke was colored — that to me was the quintessential Vegas guy.

"[18] In the United States, the album made its debut on the Billboard 200 at number 2, on the chart issue dated October 26, 2013, selling 84,000 copies.

[22] In a positive review, Matt Collar of AllMusic praised the album's exploration of different genres.

[6] In another positive review, Eric Allen of American Songwriter stated that while the album seems to be extremely dissimilar in the first listen, Brendon Urie's personal lyrics thematically tie them all together.

[23] In a mixed review, Jordan Blum of PopMatters wrote that the album felt like a continuation of Vices & Virtues and came off as obnoxious, generic, and too uninvolving to listen to.