In September 2014, shortly after the formation of the band, Sumac announced the track listing and expected February release of their debut album, through Profound Lore Records and SIGE Records, tentatively titled The Deal.[2] The report was made based on an entry in Aaron Turner's official blog, which included the announcement and photos of the band recording.[3] It was also reported that Mell Dettmer and Kurt Ballou recorded and mixed the album at Aleph and Litho studios in Seattle, Washington and GodCity Studios in Salem, Massachusetts, respectively, during July and August earlier that year.[2] On November 21, 2014 the release date for the upcoming album was announced as February 3, 2015. Additionally, the album artwork was revealed crediting cover design to Aaron Turner and art credit to his wife, Faith Coloccia.[4] In December 2014, Profound Lore announced the completion of the album along with an album teaser, confirming the track listing and release date.[5] On December 18, 2014, Sumac debuted the track "Thorn in the Lion's Paw" via online streaming.[6] The second track "Blight's End Angel" was released for online streaming the following month on January 26, 2015. Within the press release included the updated release date of February 17, 2015.[7] In February 2015, six days before the album release, the full album was made available for online streaming.[8]
Upon release, The Deal was mostly well received and garnered largely positive reviews by fans and critics alike. Dean Brown of The Quietus said of the album: "it's as good as you'd hope for from these guys." Commenting on the sound of the album, he noted that it featured characteristics of the "sturm und drang" of industrial metal, the "rhythmic battery" of noise-rock frenzied by the "expressive, crushing bass” of bassist Brian Cook. Brown described the songwriting as “cantankerous in its refusal to give the listener immediate gratification" favoring a "non-linear, more organic exploration of tonality, pressure and release, and devastating density." Brown describes an atmospheric "sense of unease... akin to the effects of a good horror soundtrack" that permeates the album.[12] Brice Ezell of Pop Matters said the album "lands somewhere in between the music of Isis and Old Man Gloom" demonstrating "sludgy heaviness," "nonlinear song structure" and "no shortage of magnificent crescendos." He goes on to say that the "loose structure of the tracks" tend to serve as a "source of weakness," but ultimately defines the album as a "thrilling journey."[11]
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