In the United Kingdom, Storm the Studio was released on 20 February 1989 by Sweatbox Records, a label who signed the group after they presented them with some demo recordings. In the United States, it was released by Wax Trax!, which led to the group being regarded as an industrial band, despite Dangers' and Jonny Stephens' dislike for being pigeonholed. Dangers later told one interviewer he was not concerned by the labelling, as he felt "industrial" meant different things in different countries. He later said that when he moved to the United States, "industrial was like Ministry, Frontline Assembly, Nine Inch Nails. I just didn't get it, there were too many guitars. Industrial to me is Einstürzende Neubauten, Test Dept, SPK. I love those bands; if we're only connected to that light, great. It was mainly the Wax Trax thing, because we were licensed to Wax Trax. We weren't on Wax Trax anywhere else in the world. It was only here." Storm the Studio features artwork designed by the agency Accident, and was named after one of the album's samples, a clip of postmodernist writer William S. Burroughs declaring "Storm the studio," which is used as the start of "God O.D. (Part 1)". "Strap Down (Part 3)" was only made available on the vinyl editions and later the digital edition, with the song being removed from CD and cassette releases. Regardless, American CD releases have incorrectly listed Part 3 on the sleeve. The album had become out of print after several years, leading to the album's CD re-release in the United States by TVT Records in 1993 and by Mute Records in 1994, the latter time with different artwork, designed by Rich Borge. Storm the Studio and Armed Audio Warfare were re-released again by Run Recordings on 22 July 2003, newly remastered by Jack Dangers and again with redesigned album sleeves by Rich Borge." Critical reception Upon release, Storm the Studio received acclaim from music critics and was praised for its distinctive style. Writing for The Village Voice, Robert Christgau wrote that, "Bill Burroughs having given the word, these Brit art-schoolers shape two years of 12-inches into four sides of industrial-strength samples and 'annihilating rhythm.' And though they do sometimes settle for electrodance, the laughs and abrasions keep on coming. Among retrospective reviews, Matthew Jeanes of Brainwashed noted that although Storm the Studio was "released on the cusp of the