Throughout 1989, Pop Will Eat Itself toured numerous countries in support of the album. On 25 September 2011, Cherry Red Records released a special edition of the album that features a bonus disc of rare and unreleased tracks. Reception and legacyThis Is the Day…This is the Hour…This Is This! received critical acclaim. Ned Raggett of Allmusic rated the album four and a half stars out of five, saying it was "brilliant" and "underrated", adding that "the band's sound has never been thicker and more detailed, and while the sampling and arranging are always clearly a product of their late-'80s times, like the Beasties did that year with Paul's Boutique, PWEI comes up with its own sharp synthesis." He said that "the brilliant, shuddering singles alone" are worth the album's price, and commended Flood's production skills, saying he "brought his considerable production skills to the fore and helped shape an album that was its own sprawling but self-contained universe." He later described the album as "Pop Will Eat Itself's crowning moment–an exciting, energetic, and very modern English response to the Beastie Boys' own culture-gobbling antics."Trouser Press were very favourable to the album, calling it an "aurally exciting sonic collage" and concluding that, "bright, vital and bitingly funny, this record teems with invention." Jason Ankeny of AllMusic called it the band's masterpiece. It was cited as the first of three consecutive groundbreaking albums by the band in The Rough Guide to Rock. On the BBC's "Keeping It Peel" feature, they described the album as the band's "most effective outing", while Jason Heller of The A.V. Club called the album an "electronic, sample-heavy classic." At the end of 1989, NME ranked the album at number 22 in its list of the 50 best albums of the year. Graham Crabb later reflected that the album was "probably our best piece of work." In his book Cinema Detours, Mike White said the album was the most notable of several examples of pop culture to use lines from the film The Warriors. Brainwashed cited the album one of several late 1980s albums that "[turned] the sampler into an instrument of unparalleled complexity", noting that the band "were mining cartoons, commercials, and funk 45's" on the album. Ned Raggett also commented that the "fair dollop of moody goth/post-punk touches" on the album inadvertently predicted where the group Massive Attack "partially ended up." Parry Gettleman of the Orlando