UK. A fourth and final single – a double A-side release featuring producer Cut Chemist's remix of "The Number Song" and DJ Shadow's remix of the synth-pop band Depeche Mode's "Painkiller" – was issued on February 23, 1998. Describing the time spent promoting Endtroducing as "some weird rollercoaster ride", DJ Shadow was dismayed by the lack of reaction upon returning to his hometown of Davis, compared to the attention he had received within the British music scene. He felt he had been manipulated by the press and his record label and "went from being angry to being depressed" over the perceived lack of control he had over his life. DJ Shadow found himself compelled to produce new tracks such as "High Noon" as outlets for expressing his turbulent feelings at the time. Following this period, interest in his work grew in the US; newspapers ran stories on Endtroducing and DJ Shadow received several phone calls a day, enough to convince him to hire a manager. Endtroducing eventually entered the Billboard Heatseekers Albums chart and peaked at number 37 on the listing in April 1997. Critical reception Endtroducing received critical acclaim. Alternative Press praised the album as "an undeniable hip-hop masterpiece" showing "DJ Shadow remembers that sampling is an art form", while Q described it as "a cinematically broad spectrum so deftly layered that the sampling-is-stealing argument falls flat". David Bennun from The Guardian said the record was "not only one of the most daring and original albums of recent times, but also one of the loveliest", and in a separate review for Melody Maker, he wrote: "I am, I confess, totally confounded by it. I hear a lot of good records, but very few impossible ones... You need this record. You are incomplete without it." Robert Christgau commented in Playboy that Endtroducing consists of "not so much songs as compositions", and also claimed that while listeners unfamiliar with the album's style of music would not find its tracks as powerful, "they are so rich and eclectic, and spun out with such a sense of flow, that this album establishes the kind of convincing aural reality other British techno experimenters only fantasize about." Author and rock critic Greil Marcus penned a glowing review of the album in Artforum, where he called it "absolutely modern – which is to say ambient-dreamy and techno-abstract" and "quite brilliant throughout". Entertainment Weekly critic Jon Wiederhorn