“Trespassers W,” originally a brooding post-punk love song with muffled vocals and a bassline ripped from “ Transmission,” justifies its inclusion with a full-band remake. Two of the album’s seven tracks are re-recordings of demos already familiar to diehards, padding a relatively short record with old material. “Lords of Tresserhorn” plays with the same elements-twinkling synths, thrumming bass, clipped vocals-but simmers them slowly, not so much building to a chorus as painting layers of scenery.īut these ambitious experiments are paired with concessions to an active fanbase that is terrified of change. With a propulsive bassline that gives way to shimmering guitars, “Science Beat” sounds like “Everybody Wants to Rule the World” as helmed by Pere Ubu’s David Thomas, Barrett’s atonal sing-speaking cutting through the blinding brightness. It’s nearly grating enough to make a new listener pull the plug altogether, which would be a shame- Sea of Worry finds the band honing in on the metallic sheen of goth rock, a subgenre consistently in the mix on previous records but never given its due.
#Have a nice life deathconsciousness free#
The momentum of the triumphant, shout-along choruses on “Sea of Worry” is flatlined by “Dracula Bells,” a track rendered exhaustingly slow by awkward rhythmic shifts, multiple melodic tangents, and a painful dash of free jazz. On Sea of Worry, these shifts are more abrupt the pace of the record suffers as a result. Have a Nice Life’s early work had a tendency to shape-shift, presenting as garage rock on one track only to unravel into ambient noise on the next.
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