Have A Nice Life’s classic ‘Deathconsciousness’ out now on limited splatter vinyl
Have A Nice Life's 2008 debut album Deathconsciousness is an underground rock cult classic that just gets more beloved and more influential with age, and we're now pleased to reveal that you can pick it up on "oxblood splatter on ultra clear" 2xLP vinyl exclusively in the BrooklynVegan store. Limited to just 300 copies.
From Bruce Hardt's 2014 review of the album on Invisible Oranges:
Deathconsciousness is massive, clocking in at nearly ninety minutes, shifting schizophrenically from meditative to berserk, without being jarring. The opening track, “A Quick One Before the Eternal Worm Devours Connecticut,” is a seven-minute instrumental of acoustics swimming within dreamy synthesizers. “Bloodhail” is, stylistically, one of the album’s more straightforward songs, a post-punk anthem that takes cues from 1980s post-punk with its boisterous bass lines and echoing beats. The guitars exist simultaneously in a realm between life and death, imbued with a forlorn melody compounded by the mournful croons of Barrett and Macuga. “The Big Gloom” is defined by its elegant bass lines and vocal patience, waltzing those complementary elements to the tune of wavering static.
In LP format, Deathconsciousness is meant to be a double album, with the first seven tracks forming the more organic The Plow That Broke the Plains, while the six remaining, electronic-heavy tracks comprising The Future. At the precipice between its halves, the album doesn’t fully shed its flesh in favor of metal or vice versa, rather streamlines them into a single, horrifically-perfect entity. The humorlessly titled, “Waiting for Black Metal Records to Come in the Mail,” is the bridging point between discs, with the briskly-paced post-punk being drowned out by distortion and synthesizer by its end. “Holy Fucking Shit: 40,000” segues from the prior track with a gentle melding of ukulele, twinkling electronics, piano strokes and vocals that exist behind a warm, muffled fuzz. “The Future” moves furiously, at times even boisterous when its choruses explode with spastic pop influence.
Read the rest of Bruce's review here.
Andrew Rothmund also interviewed founding members Dan Barrett and Tim Macuga in 2019, the same year they released their third album (Sea of Worry) and performed Deathconsciousness in full at Roadburn:
Barrett: Roadburn was such an incredible experience -- I highly recommend people go if they have the chance. Performing the whole record was incredibly moving, and draining. People were crying, I was crying. It just felt like a once in a lifetime moment -- something I won’t forget.
Macuga: I loved that, generally, everyone’s there for brass tacks, everyone’s there for art. And, as for the curation, the festival delivers in good faith. No matter which stage you wandered to -- intense, committed performances and attentive audiences. Three days and nights in a row, I never once walked into a room and felt, “Eh, this is lame.”
Barrett also adds, "Every record we do is such a time capsule. Part of the reason our old stuff is still emotional to perform is that it immediately brings me back to whatever I was doing in that moment in time."