Wilmott said that he found the band's dissolution to be frustrating, since they were "finally getting some recognition" when they split, recalling that "the last gig that we had played was our biggest, headlining at The Purcell Room which was also featured as a "Mixing It" session on Radio 3." "Technicolour" moved the band towards a slightly more accessible and pop-influenced sound than "D. I. Go Pop", although it still retained the band's trademark experimental sound. It was well received by music critics but not as well as "D. I. Go Pop". Despite the underground status of "D. I. Go Pop", it has gone on to become considered by critics and musicians to be a groundbreaking and innovative release and an important post-rock album. Bands such as The Avalanches, Deerhunter, Animal Collective and MGMT have acknowledged the band and the album as a big influence, with MGMT's Ben Goldwasser rhapsodizing that they "still sound like the future." However, the album's unique approach is said to have been seldom replicated, with "PopMatters" stating in 2005 that "as current artists like Manitoba and Four Tet have the technology to assemble albums much more easily these days, the painstaking lengths that Disco Inferno went to perfect their sound in those pre-folktronica days is only occasionally duplicated today." David James said that "this batch of tunes was far ahead of its time in the use of sampling, presaging everything from the cut-and-paste electronica of Matmos to Animal Collective’s pop breakthrough "Merriweather Post Pavilion"." Johnny Mugwamp of "Fact" considers the album to be "absolute fucking bedlam" and "the most important album of the 1990s." Writing for "The Quietus" in 2014, Ned Raggett said that "to me "D. I. Go Pop" is itself still fresh. And it IS fresh, a knotted twisted agglomeration of approaches from the time when post rock as a term made a certain sense, the idea that a kind of form had been perfected, so why not explode it?" He opined that Radiohead's 1997 album "OK Computer" was "a far more glossy take on what "D. I. Go Pop" was trying to articulate, far more glossy and far less specific, far more comfortable. And I do speak as a Radiohead fan," adding that "time itself points out other comparisons to me – one friend described what Disco Inferno were doing here and elsewhere as being 'a digital This Heat', looking back to an earlier set of UK prophets without honour; another explicitly made a connection to the maniacal vivisections of sound by Australian legends Severed Heads, who Crause later spoke about hearing well after the fact – sometimes the connections are out there, but implied rather than direct.