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“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 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. 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. 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. “The Big Gloom” is defined by its elegant bass lines and vocal patience, waltzing those complementary elements to the tune of wavering static.
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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. “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. And yet, for all of its eldritch weirdness, Continue reading Record 744: Have. A few times, we sat down together and had a nearly incomprehensible conversation. At others, I’ve tried to avoid eye contact.
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The opening track, “A Quick One Before the Eternal Worm Devours Connecticut,” is a seven-minute instrumental of acoustics swimming within dreamy synthesizers. In the years since its release, I have often crossed paths with Deathconsciousness, the seminal debut record of goth/post-punk/shoegaze duo Have a Nice Life. Deathconsciousness is massive, clocking in at nearly ninety minutes, shifting schizophrenically from meditative to berserk, without being jarring.