DJ record/remix fetish of the 1990s," when maxi-singles containing numerous remixes of the A-side were commonplace, Storm the Studio was "about as far from a remix 12" as possible" despite only listing four songs, citing this as one of several enigmatic qualities to the album. He wrote that "somehow getting lost" in the album makes a degree of sense, given that the record "is constantly folding in on itself from different direction," and also found that the album's eclectic style and "memorable lead ins" transformed the album into "the perfect DJ tool except for the fact that it's almost impossible to know what the record is going to sound like wherever you drop the needle. I love that this record takes so many strange turns, even if I've never known quite how to navigate through them." John Bush of AllMusic rated the album four and a half stars out of five, calling it a "four-track mini-album" and noted the influence of dub and hip hop on the remixes, while also stating that the album is "just as dense and sample-heavy" as the original singles created by the band. Jason Josephes of Pitchfork later called the album a "sheer work of genius." Dutch magazine OOR ranked the album at number 25 in their list of the 50 best albums of 1989, while in 1994, Nieuwe Revu ranked the album at number 62 in its list of the "Top 100 Albums of All Time." In 2006, VPRO named the album as one of the 299 greatest albums of all time, and in 2014, Rockdelux named the album as one of the 500 greatest albums released between 1984–2004. The album is also celebrated in a brief blurb included in the liner notes of the compilation box set Black Box – Wax Trax! Records: The First 13 Years (1994). Legacy Storm the Studio has been hailed as groundbreaking and innovative by music critics. The album was released when "house and techno ruled the dancefloor" in the words of Ron Nachmann of SF Weekly, who wrote that Storm the Studio marked a change in that it "put said dance floor on notice" with a message that "simplistic hedonism was dead." He wrote that the album's titular William S. Burroughs sample upended the "get down" paradigm of dance music and "urged listeners to seize the means of production, to create chaos, to do something." He also