In Ribbons

Hugh Jones produced the album across three studios and also engineered and arranged it, and Caroline Lavelle played cello. Seven other engineers are credited, and it was mixed at Roundhouse, Ridge Farm, Swanyard and Master Rock. It reached number 61 in the UK in the week of 29 March 1992 and number 10 on the UK independent chart. Stuart Maconie gave it nine out of ten in NME, and Trouser Press described it as alluring and attractive, rich in complexity and raw emotion. The album came with a free 7-inch of Tintwistle Brass Band versions of two of its songs.

Pitchfork's Judy Berman called it a less chaotic revision of the debut, with Barham's breathiness balancing Masters' voice and Jones limiting the feedback. She singled out the ferocity of Cooper's drumming on Ordeal and the near slowcore of Shell. Martin C. Strong wrote that the subtlety of its shredding chords let sonic dreamscapes loose, and MusicHound Rock said it immaculately balances wide-screen guitars and soft melodies.

The UK edition of Hunted runs 7:42 and ends in a 1:15 instrumental, while the US and Japanese editions place Blue Flower, written by Peter Blegvad and Anthony Moore, between the two parts. Babymaker was re-recorded for the album and differs from the version on the Half-Life EP.