Except on very drunken nights, they did not. If it's in response to critics, most of whom always seem to dump on bands that don't develop, then to hell with them. Chuck Berry is fantastic, but almost his entire career is based on variations of two songs. When Peter Hook created Monaco with David Potts, he had finally come to grips with the fact that his work with New Order was great, and his artistic impulses are best expressed with thumping, urgent bass pounding against, around and behind Sumneresque vocals. Potts is not Bernard Sumner, but you can't tell at all from the vocals.
Words bump to the music like wallflowers to concrete in a loud, lonely club.
The sadness becomes exhilarating. Happily, he seems at last to have realized the crucial role his bass plays in the grooves of the Immortal Dance Record in the Sky. Content may not be reproduced without our express permission.