as a duo. AllMusic critic Ned Raggett later praised the album's balance, arguing that it reached dark and sinister depths while also exhibiting subtler and more introspective moments. The Wrights also compiled the collection "", comprising early demos, studio outtakes, and additional material, which was released on Wrong the following year. For touring in support of "Why Do They Call Me Mr. Happy?", Nomeansno assembled their first four-piece lineup, completed by Hanson Brothers guitarist Holliston and second drummer Ken Kempster. Holliston replaced Kerr as their full-time guitarist, while Kempster went on to tour sporadically with Nomeansno over the next four years. The first Nomeansno album to feature Holliston was "The Worldhood of the World (As Such)", released in 1995. Receiving its title from philosopher Martin Heidegger's seminal text "Being and Time", the album featured simpler and more melodic songs than its predecessors while nonetheless retaining the band's "taste for blood and gristle." After focusing briefly on the Hanson Brothers and releasing their second LP, "Sudden Death", Nomeansno followed with the EPs "Would We Be Alive?" and "In the Fishtank 1", each featuring a cover of "Would We Be Alive?" by The Residents. Their eighth studio album, the double LP "Dance of the Headless Bourgeoisie", was released in 1998. The album featured some of the band's longest songs, including its title track. The album received mixed, but generally positive, reviews. In a retrospective review, AllMusic critic Tom Schulte praised the album in its experimental tone as "dark and unforgettable, poignant and cutting." A critic writing for "The A.V. Club", however, dismissed the album as "dull, meandering punk" and likened the band pejoratively to Rush. The band issued its final Alternative Tentacles album, "One", in 2000. Featuring a slow stoner rock cover of The Ramones's "Beat on the Brat" and a fifteen-minute version of Miles Davis's "Bitches Brew" with electric piano and congas, the album was well received. AllMusic's Schulte assessed the album as "intense and heavy collegiate punk" as praised it as the band's finest effort since "Wrong". Three outtakes from the album were also issued as the "Generic Shame" EP on Wrong. The band left Alternative Tentacles in 2002, and began slowly reissuing their back catalogue through Wrong and distributors Southern Records.