"...But give it a spin and it’s easy to see why the band might greet the record 20 years later with a sweat-drenched wipe of the brow. In simplest terms, Yank Crime is one ornery bastard of a record. As far as difficult opening tracks go, find me one that antagonizes listeners more than “Here Come the Rome Plows”. At a brisk 5:44, the song actually feels 10 times longer, what with the erratic time signatures, cacophonous guitars, piercing feedback, and Froberg’s blood-curdling screams. It’s a lot of sonic weight to carry right off the top, and the rest of the record’s 11 tracks don’t get the slightest bit easier. Some songs, like “Rome Plows” before them, just kick the shit out of your eardrums (“Golden Brown”). Others bleed distortion in your ear for a solid 40 seconds before assaulting your hearing (“Super Unison”). Still, others build up slowly and intricately until they explode (there are lots of these, but “Do You Compute” and “Sinews” might be the best).

All told, listening to Yank Crime from start to finish in a sitting is a serious test of will power, and it’s almost impossible without some Advil or whiskey, anything to take the edge off. And that’s just speaking from the perspective of the listener. If strapping on the headphones is enough to make you short of breath, imagine what it must have been like trying to put the record’s sorted loud, angry pieces together? Even the record’s album art, a drawing of an old piece of machinery, told the record’s story: It’s technical and industrious. It’s all work with very little play."

- Ryan Bray, consequence.net