"Party at the NSA" was released on August 15, 2013, as a direct download link on partyatthensa.com with a pay what you want option and the statement:
We live much of our lives online; we should be outraged by the extent of the NSA's domestic spying programs. Instead, we are sinking into a dangerous indifference. Insidious forces are at work. Help us reverse the entropy. The Electronic Frontier Foundation is a donation-supported nonprofit that fights back against the government to protect our digital rights; 100% of your donation to download "Party at the NSA" will go straight to fund their important work.[2][8][9]
"Party at the NSA" received positive reviews. Internet forum Big Think's Nicholas Clairmont found it a "fun yet serious protest song" that "features an upbeat tone and bitter lyrics criticizing the widespread domestic surveillance being done by the NSA's PRISM program, among others."[2] Music blog BrooklynVegan reviewed it as in "early B-52s-style new wave format".[7] Media company CMJ's Brooke Segarra reviewed the song as "a high-gear dance number that has caffeine in its bass drum and a vendetta against government spying. The quirky urgency, oscillating synth, and forewarnings about the U.S. surveillance state makes the track sound like a musical rendition of some estranged cyberpunk novel."[3]IFC's Melissa Locker noted that Marc Maron plays a "mean guitar".[4]
Brian Merchant of Vice's Motherboard reviewed "Party at the NSA" as a "fantastically goofball paranoid dance jam" as well as "a catchy, new wavy dance tune with, you know, satirically topical lyrics."[8]Rolling Stone's Christian Hoard called it a "lefty satire you can dance to: a deadpan-catchy shot at the surveillance state, complete with references to PRISM, whistle-blowing and the NSA data-gathering center in Utah."[11]Spin's Chris Martins reviewed the song as "[a] punk-addled dance-ripper [that] takes aim at the U.S. government's controversial information gathering techniques."[12]Stereogum's Tom Breihan said it was "a lightweight new-wave jam about the surveillance state, which puts it firmly in the '99 Luftballoons' tradition of lightweight new-wave jams about heavy issues."[13]The Stranger's Dave Segal said it "sounds like Devo and the B-52s taking liberties with Elvis Costello's 'Pump It Up.' In other words, it's an infeasibly upbeat, new-wave dance jam for such a dark subject."[14]