Over time, the album has been regarded as an innovative release, and has influenced numerous electronic acts including the Chemical Brothers and Leftfield.

"[2] Their notorious first single, "Kray Twins" (1987), was released on Rhythm King Records and set samples of a television documentary to an underlying throbbing bass line.

[12] "Murder Music" is a recording of a song Asquith wrote with Rema-Rema for their unreleased album,[13] and samples the introductory drum beat from "The Crunge" by Led Zeppelin.

[14] The dance song "Biting My Nails", a Genevieve Waite cover, samples the chord progression and horn riff from Eddie Floyd's "Knock on Wood" (1966),[14][9] and features lyrics about frustration over nightclub sets.

[14] A deconstructed cover version of Andy Williams' "Can't Get Used to Losing You",[7] also a hit for The Beat, exemplifies the band's diverse tastes,[6] and incorporates sinister sound effects, a pulsating bass line and a funky guitar riff reminiscent of Prince.

[15] Adam Higginbotham of Select described "Probably a Robbery" and "Biting My Nails" as appearing to show Renegade Soundwave "on the verge of widespread success as their aggressive sound began to reach a wider audience.

"[17] In a contemporary review, Option magazine described Renegade Soundwave as "[p]urposely subversive" and "calculatedly audacious," and felt they created "danceable audio barrages, a pummeling sound that conveys a slick, edgy urban hipness, often spiked with a humorous tw[ist]."

"[11] In his review for The Chicago Tribune, Greg Kot felt that the "dance noise terrorists" create a "fashionably gloomy atmosphere for their slamming rhythms, but never approach the intensity level of truly menacing industrial beat outfits such as Ministry.

"[14] Among retrospective reviews, John Bush of AllMusic said the album covered a lot of territory with a "unique sound aesthetic," and wrote that it featured "a solid focus on the audio terrorism possible from sampling" despite the presence of "subpar" rapping.

[7] Tony Flecher of Trouser Press felt the album saw Renegade Soundwave suffer from "identity crisis," adding: "Unsure whether to produce rock songs, dance anthems or dub jams, they experiment with each [...] and just come across confused.

He continued: "A quick stomp through almost any current rave or trance program will turn up a slew of direct descendants of 'Biting My Nails', 'Women Respond to Bass,' and 'Probably a Robbery'.

Their tough electro-dub experiments get some credit now for helping to spread the breakbeat virus through British dance music, but their crim-glam stance now seems just as prophetic.

It’s also, while completely atypical, RSW’s best commercial shot, with a chantalong chorus and keystone-cops brass hook to sugar the swaggering, brittle beats and background string lurches.