Sacramento Bee called the album "a mixture of sweet pop and jangly rock," as if "the Beatles were covered by the Replacements." USA Today described it as a "terrific album... by one of underground pop-rock's best-kept secrets, the Loud Family." After Scott Miller At the time of Miller's death in 2013, he had begun work on the album Supercalifragile, intending to revive the name Game Theory, rather than release it under the Loud Family name. The album was completed after Miller's death by producer Ken Stringfellow and Miller's wife Kristine Chambers, who enlisted Miller's past bandmates and musical collaborators to turn Miller's incomplete set of recorded guitar and vocal tracks, sound notes, acoustic demos, and other materials into a finished album. Miller had long intended the album to be a collaborative project; he had approached Stringfellow several years earlier, and had co-written one song with Aimee Mann and several with Stéphane Schück. The Loud Family's Jozef Becker, Gil Ray, and Alison Faith Levy participated in recording sessions for Supercalifragile in 2015 and 2016, which included a song co-written by Levy as a posthumous collaboration with Miller. Other partially-completed Miller songs were posthumously co-written with Jon Auer, Doug Gillard, Ted Leo, Will Sheff, Anton Barbeau, and Stringfellow. The album was released in August 2017. Critical reception According to Scram magazine's Kim Cooper, "Just because you write the smartest pop lyrics of your generation, and have a master angler's facility with hooks, and a few thousand people love what you do, that doesn't mean anything. Scott learned that in the nineties, and left the gentle fields of Game Theory for pricklier experiments as the Loud Family." Although they were praised by critics and fellow musicians – notably Aimee Mann and Stephin Merritt of The Magnetic Fields – and adored by a small fan base, mainstream success eluded the band throughout the 1990s. Though this may have been connected, in part, to lingering association with Game Theory's connections to the no-longer-hip 1980s "college rock" scene, it was more likely due to the group's complex, unpredictable song structures, and to Miller's cryptic lyrics, which tended to place rock's standard lyrical concerns (love, heartbreak, alienation, nascent spirituality, etc.) within the much-wider contexts of modernist literature, politics, art history, semiotics, relativity and contemporary academic sociocultural theory. In 1996, CMJ New Music Monthly′s review of 1996's Interbabe Concern categorized the music as "pop of the most depraved