by Merge Records in 2002, both songs from "The Agony of Laffitte" single were included as bonus tracks. Reception A Series of Sneaks was positively received by critics upon its initial release. The songs were praised for their brevity, intelligent lyrics, and abundance of catchy hooks. Nick Mirov of Pitchfork called the album "one of the catchiest albums of the year". Reviewing Merge's 2002 reissue of the album, David Peisner of Rolling Stone wrote that the album "hasn't lost any bite", and Michael Chamy of The Austin Chronicle called it one of the "great achievements of the late Nineties". Robert Christgau, on the other hand, said the album "doesn't qualify as the instant pleasure hypesters claim. It's too spiky and too cryptic. But it certainly earned its cult". Analysis The music on the album has been compared to that of the Pixies, Wire, Pavement, Archers of Loaf, Gang of Four, Robert Pollard, and The Fall. Jonathan Druy of AllMusic called the band "guitar wizards who could package a variety of taut, terse, and inventive guitar sounds and unpredictable melodies into short, tight bursts one could still consider pop songs". Chris Morgan of Treble wrote that, despite "many of this album’s songs [being] two to three minutes or less, [with] some being ambient interludes between actual songs [...] Spoon reminds the listener that short does not necessarily mean incomplete or lazy", and "each song is a meticulous marriage of icy but melodic guitars, rigid bass and drums and Daniel’s assertive vocals." Mark Abraham of Cokemachineglow called the album "a concept-driven album that plays inertia and movement against one another as metaphors for individual growth, communal interaction, and persistence in the face of modernity", and said that "much of the beauty and tension comes from the incredibly interesting way Spoon plays with rhythm." Daniel's lyricism has been described as "hallucinogenic" and "strangely wordy". Druy wrote in his review on AllMusic that, amidst the album's "sonic engagement, it is the search for meaning in music amidst the open roads and open spaces of the American Southwest that form a central character in Daniel's fragmented and oblique lyrical universe. In a few brief lines, a drive to New York on the interstate becomes a meditation on rock and youth in 'Car Radio,' while 'Metal School' seems to be a reassessment of the purpose of post-punk". Legacy The album has been included in several lists