New exclusive vinyl: Have A Nice Life’s ‘Deathconsciousness’ on limited splatter LP with zine
Have A Nice Life's 2008 cult classic album Deathconsciousness is getting a new reissue and we're once again teaming with them on an exclusive vinyl variant. Our "blood red & bone half & half with kelly green splatter" variant is limited to just 200 copies, so pre-order yours while they last. That's a mock-up above. Like previous issues of the album, it comes with a zine that "[details] the dark and forgotten history of the Antiochean cult, and blurring the lines between novella, liner notes and academic text."
For more on this beloved album, Bruce Hardt's 2014 review on Invisible Oranges reads in part:
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.