[2] The band "hit upon a seemingly simple but ultimately world-opening idea" with the EP: to write their instruments through samplers, and unlike their contemporaries who only sampled elements of music, film dialogue or other media, Disco Inferno "engaged with the whole world", using their set up to record additional sounds as well, ranging from running water, the wind, whistling birds, boots, car crashes and angry voices.

"[3] Kellman commented that, "disorienting, confusing, and highly schizophrenic, the challenging releases were in direct contrast to the prevailing Britpop scene of the time," taking "A.R.

Kane's futurist pop a couple steps further and secured a devout and small following that found solace in their wildly imaginative, peerless nature.

A journalist at The Quietus recalled that "the sparse tiny-numbered disconnection of DI's audience, the rarity of finding anyone else who understood just how great they were, became disheartening," despite the praises of the band written by David Stubbs, Taylor Parkes, Lucy Cage, Jon Selzer and Simon Price in the British music press.

It did start to become apparent in the last year or so that the reviews, especially in Melody Maker, counted for absolutely nothing in sales terms, which I belatedly came to realise were the be all and end all of being in a band if we needed to survive.

[6] Wilmott recalled in 2011 that he finds it difficult when he hears "about Ian's issues throughout this period, as they are usually horribly remembered and pay little or no attention to his own behaviour which can at best be described as erratic.

[8] Crause and Wilmott had also both read The Timelords' "how to have a number one single" book The Manual, which "bizarrely" had an effect on the way that they approached this batch of songs, and the title Go Pop reflected that.

[2] According to Scott Plangehoff of Pitchfork, the album is "the most challenging and least 'pop' full-length in the band's catalog," adding that it "retains the arpeggios and fractured melodicism of their then-recent singles, and adds increasing layers of disorienting samples and paranoia.

Go Pop is an album of contradictions: Prescient, uneasy ballads like 'Even the Sea Sides Against Us' and 'A Whole Wide World Ahead' recoil from the potential cruelty of human nature but are tethered by an aching off-kilter beauty.

"[9] Writing for AllMusic, he said that "pop hooks existed on the record, but only in the most spare, hard-to-find of forms; otherwise, Disco Inferno was out to create an album to challenge as many listeners as possible without fully embracing a noise approach.

"[2] Raggett also commented that Rob Whatley was "transformed" from being "just" a drummer to "someone also playing percussive samples and other sounds", which "took the man/machine focus of a figure like Stephen Morris and ratcheted it up into a different realm," whilst Crause was described as writing "angry" lyrics for the album.

[9] Crause, "an admitted misanthrope," often delivered a "very bleak, Morrissey-esque worldview" in his lyrics on the band's early singles, and Begrand noted that "although you do hear bits and pieces of a similar sentiment on this album (“Chameleon skin/Is what you need to be in/When nothing's as it appears/Why should you be?”), his vocals are buried so deeply in the mix, it's impossible to tell just exactly what he's singing most of the time.

"[2] Scott Plagenhoef of Pitchfork said that "on much of the album, Crause's bitterness and aggression seems trapped in a swirl of larger sounds, his voice and fears struggling to be heard or comprehended above the dins of abstract noise and the weight of the world around him.

[14] Raggett noted his voice and lyrics project "the electronic paranoia which Radiohead polished up very well for OK Computer, but he's all the much more intense, crackling with a nervous energy and lingering horror for what will be just around the corner.

"[14] Raggett said that "A Whole Wide World Ahead" conjures up "the acoustic guitar/rain combination in newer, stranger ways, odd unexpected rhythms, [with] Crause noting, 'There's not enough shelter from all the madness around' as the melancholy flow gets more desperate and lost.

"[8] Fuel desired to design a bold logo for the band to give them a strong identity from the start, with the original symbol dating back to the 1930s and having a "simultaneous clarity and ambiguity that complimented their sound.

That photograph of a pastoral English setting, bluntly obscured by a white circle in the center, with three arcs extending outward, looking like monstrous sound waves emitting from the middle of a lake, was one of the most indelible album cover images in the '90s, yet so few people actually heard the music inside.

Go Pop's initial release, it's the perfect opportunity for people to discover one of rock's most innovative, tragically overlooked bands, and might I add, it's about bloody time.

[2] In January 1995, it caught the attention of American magazine Alternative Press, who reviewed the album very favourably, saying "this uncheerful British trio are forging challenging music that threatens to break free of rock's shackles.

"[15] Ned Raggett, in a review for AllMusic, rated the album four-and-a-half stars out of five, saying that "Go Pop resembles no other album so much as Wire's 154 for the modern day--very English, encompassing a variety of styles and approaches, seemingly totally cryptic yet more touching to the mind, body and soul than anyone might have expected," and concluding that, "probably one of the only bands truly worthy of the term 'post-rock,' Disco Inferno is heading in a direction that no previous band has fully embraced.

"[12] Will Hermes of Rolling Stone said the album was a "shot heard 'round the corner, if that: a lost masterpiece of evocative blur channeling Joy Division's melodic gloom through My Bloody Valentine's blissful noise-swarms, with sample loops outgunning the guitars.

"[22] Tiny Mix Tapes were also very positive, saying "Disco Inferno simply wanted to shine on us the light of a fundamentally strange hue, a new context in which to enjoy pop music forms.

Go Pop retains the arpeggios and fractured melodicism of their then-recent singles, and adds increasing layers of disorienting samples and paranoia" and said it was "nearly as urgent and key" as the band's sample-based EPs.

[5] In 2011, Eye Plug noted that Pitchfork's review resulted in a swell of activity across internet message boards, and "appears to have left a continued wake of interest.

[15] "So the church bells and whistles and sea crashes continue to act twenty years later, but the whole thing still feels, even now, at once unstable and carefully balanced, the bones of the songs never totally broken but never allowed to slip by without something profound being done to them.

[24] Wilmott said that he found the band's dissolution to be frustrating, since they were "finally getting some recognition" when they split, recalling that "the last gig that we had played was our biggest, headlining at The Purcell Room which was also featured as a Mixing It session on Radio 3.

"[2] David James said that "this batch of tunes was far ahead of its time in the use of sampling, presaging everything from the cut-and-paste electronica of Matmos to Animal Collective’s pop breakthrough Merriweather Post Pavilion.

And it IS fresh, a knotted twisted agglomeration of approaches from the time when post rock as a term made a certain sense, the idea that a kind of form had been perfected, so why not explode it?

Some of that dark energy eventually became interpersonal, ended the group after the increasingly bad hands fate and life dealt them, but so much of it was the thrill of getting something off their chests, looking around at where they were at, the country they were in and the structures they had to deal with, and mentally blowing it the hell up.

Never sloganeering as such, never rabble rousing, more the voice that captures how things can make you punch a wall at just how stupidly moronically unfair it all is, but exacerbated by people theoretically speaking for all who can’t even be bothered with any sense of lip service, or are clearly too blind to realise what they say.