In 2003 Reis re-released Yank Crime on his Swami Records label, including on it the songs from the band's "Hand Over Fist" / "Bullet Train to Vegas" single and the original version of "Sinews" that had appeared on the compilation Head Start to Purgatory.

[8] Writing for The Boston Phoenix, Kevin McDonough noted that "[a] maelstrom of guitar and drums propel all nine songs, so it hardly matters that the arrangements aren't filled with many surprises: the high-quality production (by the band) along with the steady beat and insane shouting vocal style of Rick Froberg put this album a cut above the usual thrash fest.

"[2] In Trouser Press, Deborah Sprague found the "more viscerally fractious" album "a good deal more compelling: “Here Come the Rome Plows” and the disorienting “Luau” find Froberg sounding like a man pleading for help as the guitar undertow pulls him down for the third and final time.

Melody Maker published a rave review of the album from Cathi Unsworth, who described it as "the kind of gut-quaking, elegant sonic violence we Brits find so hard to emulate without being bogged down in too many layers of depression or aloof cool.

"[10] A more mixed review came from Select, with critic Andrew Perry calling the album a "naggingly unpoppy take on post-hardcore power play" in comparison to Rocket from the Crypt that "fall[s] into an occasionally dreary middle ground between Superchunk and Fugazi.

These more straightforward songs sting like snowballs packed with rock-hard chunks of melody, and in each case, Froberg's voice abrades the solid lines down to the bare minimum, and the band fills in the resulting space with pure venom.

While use of that term rapidly degenerated to apply to sappy miserableness by the decade's end, here the quartet capture its original sense, wired, frenetic, screaming passion, as first semi-created by the likes of Rites of Spring.