![]() It’s timeless because the entire album is meticulously crafted from the ground up. Loveless isn’t a timeless album because it sounds like shoegaze. After all, good music requires good ingenuity behind it, meaning an understanding of how it can work on many levels. ![]() Yet, somehow, beneath the slurry the melodies posses their own hooks, nestled deep within the sound. The band won’t shy from the possibility of going 7+ minutes without vocals or percussion, transforming the banality of the interlude into a densely woven piece of drone music. When the drums do eventually kick back in, as raw as they are, the effect is sublime. Where lesser acts might sooner guide a piece to more commercial friendly territory, Have a Nice Life delve deeper into the dark. deathconsciousness filters it’s noise through a rigorous ideology, a higher level understanding of the search for light in absolute darkness. What separates Have a Nice Life from their contemporaries is their unique fusion of post-punk, shoegaze, industrial, goth and drone, most brilliantly executed on their debut, though spun exceptionally tight on their follow-up, The Unnatural World (2014), and the (still) free EP from 2010, Time of Land.įor a two-piece, the band manages to make a hell of a lot of noise, but what keeps it from just being noise is a focused lens. The vacuum might just be the perfect analogy for the sound of deathconsciousness, an album that seems insurmountably dark and dense, like a collapsed star sucking in all existing sounds, compacting them, and spewing out a crude yet addictive slurry for the ears. Dan Barrett and Tim Macuga – the sole members of Have a Nice Life – share vocal duties, in which their unrefined and often shrouded-in-noise bellowing is something like Ian Curtis or Johnny Rotten singing inside a vacuum, if, of course, one could hear anything in a vacuum. Ostensibly a post-punk outfit, Have a Nice Life tend to blur genre boundaries more than they ever stick to an edified regime, and they’re always all the better for it. The image is bleak, and the music follows perfectly in suit (as it does from the band’s name, from a dark parody standpoint). The painting has a far-reaching historical influence, and as an icon for one of the most important periods in human history, it’s no shocker it pops up now and again in popular and underground culture.Īs the cover to deathconsciousness, The Death of Marat feels all too fitting. Painted by Jacques-Louis David, it depicts the French revolutionary leader Jean-Paul Marat dead in his bathtub after being stabbed by one, Charlotte Corday. The album cover, a crop of The Death of Marat, is arguably the most famous painting from the French Revolution. In 2008, Connecticut two-piece Have a Nice Life released their debut album, deathconsciousness. ![]()
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