Zelienople - Sleeper Coach

Slowcore has become an obsession of mine over the past couple of years. My interest in groups like Codeine and Low has become immense. I've collected all I can from many of the "popular" slowcore candidates and I'm still not satisfied. I've found a few great records, but I feel like there has to be variations out there I'm not noticing. Whenever I come upon a record like Duster's 'Stratosphere' this feeling is intensified. Zelienople don't strictly meet the requirements in my head that define the genre of slowcore, but it is obvious they've taken some of that genres tendencies. The backdrop of folk that resides in their music is the clearest example I can find to satisfy that theory. Much like Codeine they rely on slowly building their songs through texture and the subtle blend of guitar interplay. Codeine preferred to go loud and distorted, Zelienople is much more laid back and quiet. They have a distinct jammy quality that anchors their music into the realms of noise and post-rock. They are a very tough band to classify as they can be very quiet and completely aggressive at the same time. When I say aggressive I don't really mean heavy though. They achieve loudness in a unique way that sees them almost going completely out of sync. Their songs seem to float through these hazes of textural noises. I guess their tendencies in terms of dynamics is what wants me to label them as slowcore.

zelienople's 'sleeper coach'

'Sleeper Coach' embodies their earlier work. More song based and much more ethereal. Their music over time has gotten much more complex than the simple spaced out songs we find here. This doesn't prevent the record from succeeding or in any way effect it at all. The cool thing is to see the band progress and 'Sleeper Coach' is the perfect place to start. Not as out there as their later work, helps you get used to their work. Much like 'Spirit of Eden' allows the further understand of 'Laughing Stock'. Neither record is better than the other they just represent different moments and ideas of the band. Highly suggest this record and in general the band's music. They are truly a different type of group that exists in their own realm.

Zelienople - Sleeper Coach (2004)

Nat Baldwin - Most Valuable Player

nat baldwin's 'most valuable player'

nat baldwin has some loose connection to The Dirty Projectors, i believe he was the bassist at some point. this record is pretty interesting somewhat evoking Grizzly Bear with just a stand-up bass. definitely poppy, but very beautiful and technical in the same glance. sort of missed when it came out as well.

Nat Baldwin - Most Valuable Player (2008)

Have a Nice Life - Voids

Have a Nice Life's 'Voids'

As is the case with most recording sessions Have A Nice Life's 'Deathconsciousness' left a few b-sides that have been complied into this bootleg collection. Featuring an EP of 'Deathconsciousness' demos as well as an EP featuring tracks not included on 'Deathconsciousness' 'Voids' fills in the blanks as to where Have a Nice Life's sound came from. The songs here are more atmospheric, more indebted to post punk, and in general a little more easier to follow along. 'Sisyphus' is texturally the most impressive HANL song I've heard and 'Destinos' shows the bands knack for instrumental beauty. If you enjoyed their release last year I suggest giving this a look.

Have a Nice Life - Voids (2009)

Hisato Higuchi - Dialogue

hisato higuchi's dialogue

people that are somewhat familiar with this blog may remember a post a year or two ago on the album 'Holy Letters' by L. L got me first interested in Japanese music and Hisato Higuchi's 'Dialogue' was one of the first records after 'Holy Letters' that I found myself really attracted to. unlike L's meandering improvisation on 'Holy Letters' Hisato crafts a contained album with 'Dialogue'. songs exist basically of seemingly random chord patterns with soft singing accompanying. this is definitely the type of album reserved for when you wake up or are about to fall asleep, the minimalism is entrancing. yet another great release from the musical giant that is Japan.


Hisato Higuchi - 'Dialogue' (2006)

...Who Calls So Loud - ...Who Calls So Loud

...who calls so loud's self titled

Funeral Diner encapsulated a dense and nostalgic view of hardcore. Their seminal release 'The Underdark' was anchored by its dynamic songwriting as well as a fantastic drum performance by Ex-Portraits of Past member Matt Bajda. When the group broke up guitarist Dave Mello and aforementioned Matt moved on to a new project under the name ...Who Calls So Loud. Their debut definitely makes the fact clear that members of the band were previously involved in Funeral Diner. The record is a combination of thoughtful longing and intense build ups. While there certainly are a lot of similar threads connecting Funeral Diner and ...Who Calls So Loud there are also numerous key differences. First off ...Who Calls So Loud isn't as dense as "The Underdark" the guitars act more as melodic anchors than heavy distorted sound scapes. 'Sleep-like' plays out this idea when it breaks into a serene bridge featuring lush guitar parts with drummer Matt releasing a flurry of impressive fills. The band also seems to take a more introspective look in terms of the lyrics. Funeral Diner's lyrics most of the time came across as very dark and preachy words on the current state of society where ...Who Calls So Loud's don't echo accusation. 'Any Color I Want' encapsulates this idea;

'it's been years since i've stood on your porch.
several memories flash all at once.
i don't even know if you still live here.
attached is everything you've written me.
i've highlighted all the lies.'
...who calls so loud - 'any color i want'

If 'The Underdark' represented what the Half Moon Bay breeds ...Who Calls So Loud is attempting to portray how the members of that community were actually bred. The record as a whole echoes lost sentiments and forgotten peers. The music is desolate and while it is not as basic as a standard hardcore affair it feels human in how it gradually builds itself up just to fall back into a more appropriate section. Highlights of the record include '4.4.4.4.' which speaks on feelings of life's futility. The cycling guitar portions in the introduction of the track help slowly cascade the song into the rolling repetition of 'there was a presence.' The song has probably the heaviest section of the record when it expands into its conclusion which almost echoes the feel of a breakdown. From that apex of heaviness the record drifts into the slide guitar of 'Assume the Power Focus' which is such a startling shift in feel that it works excellently.

...who calls so loud

Complaints on this record are easy to assume. The band isn't living up to the complexity of their former incarnation, the sound is too typical for a post rock influenced emo group, the lyrical content is trite, etc. While there is some validity in some of these statements listeners should examine ...Who Calls So Loud's debut album for simply what it is; a continued development of the sound Funeral Diner was striving to create and in that regard it succeeds.


...Who Calls So Loud - ...Who Calls So Loud (2008)

Richmond is a Hole

richmond, virginia

Richmond, Virginia and its surrounding areas have over the past twenty years been a great source of aggressive mostly hardcore based music. Groups like Gwar, Municipal Waste, and Undertow have all left their own mark on the scene. Perhaps the most universally acclaimed group from the area though is emo based pg.99 who personified an extremely aggressive and chaotic sound of hardcore that can even now be seldom mimicked. pg.99 and their sister project City of Caterpillar are two of the most important late '90s hardcore groups in terms of influence so of course when their specific members are release something new it causes some form of anticipation. Pygmy Lush's 'Mount Hope' and Verse En Coma's 'Rialto' are both records that encapsulate what their former bands were about in ideals, but in terms of sound these two records are far removed from their humble beginnings. Pygmy Lush has removed the heavier side of their sound and created a completely acoustic record. Verse En Coma on the other hand has crafted a record that seems like a lighter Malady.

pg.99

On the topic of Malady one must realize that the group was essentially the successors to City of Caterpillar. When Malady’s self titled came out there were definitely a lot of people disappointed with CoC’s sound not being kept in full. While Malady's self titled debut release does embrace the dynamics that were present in City of Caterpillar there is also a pronounced rock influence on the record. 'Yeah' the second track on the record starts off with an introductory guitar part that would not seem out of place on a Third Eye Blind album. If you're looking for sonic comparisons Malady is a tamer more controlled Gospel. If Gospel was Yes than Malady would be Zeppelin. The group can play their instruments, but they certainly aren't doing anything remarkable on the record in technical terms. That isn't the point with Malady though as the band has harnessed their influences of post rock and shoegaze using subtle tricks like layering their vocals to give stronger accents to the shifting nature of their songs. Where City of Caterpillar would extend a song for four extra moments to build to that final crescendo Malady inserts a repeating riff or a double vocal attack that quietly and more abruptly ends the developing guitars. Malady's attitude and song construction seems based in mid '90s hardcore, but their actual sound only flirts with the post-hardcore of Unwound and Fugazi instead the band is more set sounding like a really lo-fi Hot Snakes. The guitarists are playing as two separate people, but come together as one with their layered melodies. Drummer Johnny Ward does not play busy instead allowing the album to groove with the help of exceptional bassist Kevin Longendyke and finally there is vocalist Chris Taylor.

malady's self titled debut.

Chris Taylor has an extensive resume. pg.99, Pygmy Lush, Mannequin all feature his vocal meeting point between extremely aggressive screams and rather gruff singing. In Malady his vocal performance is crucial to the band's success. His vocals not representing the visceral nature of pg.99 here instead coming off much like Adam Drooling of Gospel in their background nature. Taylor is low in the mix, but his voice suits it. His spoken word build up in 'The World is a Tomb' helps the song reach new levels when the beat finally breaks. His repetition of the numbers '56, 17, 27, and 12' makes 'Bad Life' a strong contender for the best track on the record and this is all without mentioning the vivid detail of the lyrics he is actually yelling. Taylor clearly has a way of coming off like Tom Waits and in his lyrics you can see the imagery of Waits seen through the lens of Richmond and surrounding Virginia. Malady's self titled is a record with stories that echo drop outs, burn outs, and those left behind. Taylor's bridge in 'Bad Life' clearly representing the purpose behind his words,

'but from womb to grave
and everything in between
it gets real fucking mean,
and you wonder why i drink?
i wonder why we're not all drunks
sunk in our dumps where nothing changes.'
malady – ‘bad life’

Malady's debut record is a sharp commentary on the nature of towns like Richmond. The type of record that leaves the listener only hoping that the emotion the band is pouring into playing is what helps them deal with the issues on the record. In a long line of extremely fragmented views of today through the guise of post-hardcore Malady stands. Echoing the sentiments of 'The Underdark' and 'The Moon is a Dead World' Malady reflects the cold reality of our pain and desolation, but in doing that helps us examine ourselves. Certainly a record worthy of being the successor of City of Caterpillar and more importantly establishing the members of Malady as people to watch not only because of their past, but because of what their future might entail.

city of caterpillar

Verse En Coma represents Malady and City of Caterpillar's future. Featuring 3/4ths of the original City of Caterpillar line up as well as 3/5ths of Malady, 'Rialto' was a record most have been looking forward to for a very long time. In early 2006 with the release of the track 'Young Ones' (which has now been renamed as 'In a Factory) it was obvious that Verse En Coma was clearly tonally in line with Malady. What Verse En Coma does differently though is remove the post-hardcore sounds that are present in Malady and instead embraces the more alternative and grungy side of that band. Saying that Richmond and its surrounding areas are essentially playing grunge filtered post-rock is certainly not going to win them any new admirers, but I'm sure the bands could really care less. Verse En Coma is a lyrical reminiscent journey that is in sharp contrast to Malady's themes. Malady represented the desolation of the rural nature of areas like Richmond where Verse En Coma embraces that nature and happily plays in fond memories of growing up in those areas. 'In a Factory' perfectly accents this telling the story of two lovers who find love at a small workplace with the band seemingly celebrating their rebellious blue collar nature. Malady's other half went on to join the group Pygmy Lush who certainly sonically represent Neil Young and Bob Dylan much more than Verse En Coma, but the lyrical themes of Verse En Coma are so strongly reminiscent that the group seems to be clear fans of the heart on sleeve styles of Dylan and Bruce Springsteen.

verse en coma's 'rialto'

In terms of Verse En Coma sonically, think Malady yet much softer. The strong shoegaze influence that Malady brought to the City of Caterpillar sound is present with Verse En Coma, but the places where the band should break heavy are replaced by even prettier sections like the conclusion of opener 'Through Ice Patches and Pine Trees'. 'Tiny Speakers' has a beautiful group vocal section that adds an even more intense layer to its conclusion. A key part that makes the sound of Verse En Coma a successful change is Ryan Parrish whose drum performance on 'Rialto' is absolutely amazing. The plodding post-punk of 'Disappearing Glaciers’ is cut extremely well with Parrish essentially playing fills over the entirety of the verse. His heavier more dynamic playing on 'In a Factory' makes that track such a successful anthem. Without the return of Parrish to this trio of players its doubtful Verse En Coma's new sound would sound as good as it does. On other important sound adjustments the guitar playing here is much more airy than Malady. Malady's debut had a strong devotion to riffs where as Verse En Coma sees the band instead playing hardcore tainted post-rock instead of the other way around. What is most surprising is that by switching to less hardcore oriented music that band has become even more unique with their only comparison in my mind being 2008's critical darlings Have a Nice Life. I guess the sound that Verse En Coma and Have a Nice Life both share comes from both bands having members that were previous involved with post-hardcore projects and are now attempting to do something that is more alternative and punk based. Whatever is the case 'Rialto' is a fine example of how to make an alternative rock record.

Pygmy Lush's 'Bitter River' was an interesting release in 2007. The most polarizing part of the record was how strange the material was. Where Chris Taylor would sometimes fully embrace his Tom Waits influence there were other times when the music of the group would sound even heavier than pg.99. Also, somehow on the record the group had somehow showed off how much they enjoy Elliott Smith and Birchville Cat Motel. Luckily 'Mount Hope' isn't that scatter brained. The group does delve into rockabilly and drones a few times, but overall this record seems to establish the softer folky sound that Pygmy Lush is going for. The sound is somewhere between the aforementioned Elliott Smith and Neil Young with the group taking strong melodic points from Smith and coming of as Young with their incorporation of lush electric guitar touches. Tracks like 'Frozen Man' and 'Tumor' clearly evoke a dedication to early Iron & Wine and other pitchforkmedia.com folk darlings, but Pygmy Lush manages to make 'Mount Hope' sound not like a hardcore band playing folk rather just a solid somewhat different folk record.

pygmy lush's 'mount hope'

'Mount Hope's' most successful track is opener 'Asphalt'. A calmly orchestrated acoustic guitar track with a nice snare backing that is accented by Chris Taylor's deeply effected vocals. The song basically features what sounds like two looped acoustic guitars for its entirety that almost echo Ben Chansy's finger picking style. Where 'Bitter River' had extremely mournful acoustic tracks, 'Asphalt' is bright sounding. Lyrically it still represents the darkness that has begun to become associated with the group, yet it isn't as ominous as 'Bitter River'. Tracks like 'Send Bombs' seemed to represent a disconnected sadness where 'Asphalt' is simply reminiscing about lost,

'i'm sleeping in a basement;
it's cold and undusted.
the pictures are hanging
all my walls like a guillotine.
i know you know there is nowhere.
laying down here trying to think of nothing, i know you know there is nowhere to go.'
pymgy lush - 'asphalt'

A strength of 'Mount Hope' is although its feeling is essentially the same through its entirety the way the band makes you feel that way is not always the same. 'Red Room Blues' is a mammoth of a track with its length being just over eight minutes. Beneath mumbles of 'the bottles collecting old dust like trophies.' and other such personal images Pygmy Lush slowly builds soft blissful drones that eventually overtake the entire track. It is a beautiful technique that Six Organs of Admittance somewhat explored, but Pygmy Lush is much more simple and blissful in their delivery of acoustics counter pointed with noise. 'Red Room Blues' is immediately followed by the Tom Waits devoted 'Mount Hope' and Pygmy Lush's more eccentric nature comes out. The rockabilly territory that 'Mount Hope' represents is also revisited later on the album with the track 'Butch's Dream'.

‘Mount Hope’ sees Pygmy Lush at their most peaceful. Gone are the outbursts of screams and palm muted power chords. As the band has essentially been touring as a loud and soft entity, one assumes their next record will be entirely loud. While, I am excited it is kind of disappointing to think that the group will not revisit the beautiful sounds they did in making ‘Mount Hope’. Perhaps that adds to the intimate impact of ‘Mount Hope’ as it does feel like something that could’ve just been cast into any of the member’s closets. If one thing can be said about ‘Mount Hope’ it is certainly the most sincere record made by the members involved and that is saying something considering the alumni.



Malady - Malady (2004)
Verse En Coma - Rialto (2008)
pygmy lush link removed; check out myspace.com/pygmylush for ways to purchase the record as well as hear 'Asphalt'

Red Sparowes - Aphorisms

Red Sparowes has always come off as one of the more literate post rock bands. While their record concepts have ached of forced thoughtfulness the music the group produces has never felt the least bit cluttered. Most post rock groups simply attempt to bend the minor scale as far as it will go while Red Sparowes take a much more tonal approach to their sound. At times this works brilliantly creating beautiful soundscapes with unanticipated twists. Other times the band is left sounding extremely unmoving; example being their first LP which while interesting suffered due to its seemingly useless noise interludes. Luckily "Aphroisms" suffers none of the group’s flaws from their debut instead mimicking the more developed side of their second LP. As post rock bands have become a dime a dozen it is always great to hear a band be as good as Red Sparowes at their own little niche of the genre. Important to Red Sparowes is the sophistication of their songs not the textural beauty and this is why they come off as a more intelligent version of groups like Explosions in the Sky and Russian Circles.

red sparowes' 'aphorisms'

"Aphorisms" is an important record for Red Sparowes because of the loss of previous guitarist Josh Graham. Graham is known for his textural tone as well as his involvement in Neurosis and Battle of Mice. In my opinion he is one of the more successful post metal guitarists due to his ability to craft dynamically heavy yet melodic displays. This helped Red Sparowes in the past as the metal edge was beefed up in part because of Graham. On "Aphorisms" we can feel the change of sound yet it doesn't come off as a bad one. Red Sparowes have just grown a little lighter as well as a little more rhythm based. This change may have nothing to do with the departure of Graham but whatever the reason "Aphorisms" is a great EP showcasing Red Sparowes evolving sound. Drummer David Clifford provides a dynamically interesting performance that helps blend the soft and loud changes effortlessly. Guitarists Bryant Meyer and Andy Arahood create gorgeous melodies that echo traces of math rock complexities. “Error Has Turned Animals to Men, and to Each the Fold Repeats” is a perfect example with its hallowing guitar laden conclusion being both cathartic and compositionally developed. In all honesty this EP probably represents the group at their most efficient. The band has honed in the lengths of their songs and put a more prominent effort in being a little more emotionally and it pays off in heaps.

red sparowes performing 'a message of avarice rained down upon us and carried us away into false dreams of endless riches'

Fans of Red Sparowes that have yet to hear this record may be feeling a little anxious do to how radical I've kind of implied it sounds. To be honest this simply isn't as vastly different from their other material as I imply. The lengthy song titles are here with the opener being label as "We Left the Apes to Rot, But Find the Fang Grows Within" and the basic structure of the songs are the same as before. Said opener is a trip between a mathy introduction that forms its way into one of the band's most gorgeous sections through a transition of white noise. "Aphorisms" comes off as a record where the band is using the same pieces as always just sort of mixing up how those pieces are arranged. This philosophy reveals itself to be both the records strength and flaw. In terms of the Red Sparowes discography "Aphorisms" should probably be labeled as the most cohesive piece, but in terms of the entire genre of post rock the group is simply not doing anything original here. The band is simply a very good example of modern post rock and if you are approaching the record with anything but that in mind be prepared for a disappointment.


Red Sparowes - Aphorisms (2008)

Capillary Action - So Embarrassing

Capillary Action's "So Embarrassing" should be regarded as incredible for one main reason; the horn sections. Examples of the brilliance of the horn sections can be found in "Elevator Fuck" and "Placebo or Panacea" where the horns simply don't just provide another blast of noise, but literally they act as the underlying developer of Jon Pfeffer's bizarrely catchy melodic changes. Another positive is how beautifully the string and horn sections are produced which can easily be explained due to the addition of Colin Marston in a production capacity. Most of what the band is doing on this record seems to be a meeting point between the break neck changes of Mr. Bungle with the melodic creativity of Time of Orchids. In many ways "So Embarrassing" parallels two of my most recent favorites "Blue Lambency Downward" and "Namesake Caution" in how it bridges the more sophisticated melodic ideas of jazz and classical composition with modern rock and pop. Every member of this group is playing at a peak of effortless rhythmic changes and carefully arranged harmonies. This attention to detail the members provide to each movement helps some of the more jilted sections like the end of "Bloody Nose" play a little smoother than they would otherwise. “So Embarrassing” is yet another example of how great mixing the avant garde and more simple genres works greatly.

capillary action's 'so embarrassing'

Though "So Embarrassing" deserves a large amount of praise the record does fall apart due to a few simple flaws. First, where bands like Time of Orchids and Kayo Dot are going through massive amounts of changes they seem to have a sense of when to let things develop. Capillary Action seems to fall into the Mr. Bungle comparison I drew earlier and be more about showing off their ability to shift between vastly different parts in short amounts of time. This is probably more of a personal preference but because of that a lot of the beauty in these songs seems to be lost. "Paperweights" is a notable exception with its drawn out acoustic portions being one of the most beautiful sections on the record. Still, the groups to which Pfeffer's indulgencies seem to relate are far more experienced and have had time to develop their ideas, Pfeffer is only 21 and already he has released an album that possesses a very original sound as well as an impressive amount of musicianship. Given the time to let his music mature I'm sure he will find himself in the company of his peers and inspirations, but for now his music will just have to settle for being very impressive instead of awe inspiring.

Capillary Action - So Embarrassing (2008)

april 1st 2008

mark kozelek

two excellent records are being released tomorrow. both are follow ups to some special records in my life. first off, we have Mark Kozelek of Red House Painters and Sun Kil Moon fame releasing his third LP under the Sun Kil Moon moniker. the record, entitled 'April' might just be my favorite record of '08 so far. Gregor Samsa is a post rock mainly known for having Kayo Dot and City of Caterpillar members appear in their line up. their latest 'Rest' is released digitally today, although it has been streaming on their myspace for the past couple of weeks.

gregor samsa

'55:12' was a very conflicting record for me. Essentially, Gregor Samsa is a heavily post-rock leaning Low tribute band and '55:12' perfectly encapsulated that. Although that record is certainly a great listen, the movement and song structure is painfully obvious. The pick-ups in tempo, the crescendos, every moment of '55:12' has an overwhelming simplicity to it. I'm not saying that is necessarily a bad thing, but it certainly does effect the replay value of that record. With 'Rest,' it seems as if the group is taking strides towards being an artistically legitimate entity. Early Gregor Samsa evoked a Sigur Ros sense of stagnancy that has almost been completely thrown away with the developments made on 'Rest'. Kayo Dot alumni and Ghastly City Sleep members make guest appearances, but little of this is obvious. 'Rest' is still the Gregor Samsa of '55:12', but they've grown up. 'Rendered Yards' pulls off a gorgeously effective inclusion of vocals in a seemingly operatic style. Even in the slow beginning of 'The Adolescent,' it is pretty obvious that this record isn't going to contain the same noise heavy moments of 'Makeshift Shelters,' and while that is a slight disappointment, Gregor Samsa's incorporation of a chamber music styled line-up is equally as exciting. 'Ain Leuh' demonstrates why that is about a minute in when it bursts into a dazzling mini-crescendo, which is really unexpected for a band that previously prided themselves on their unabashed slow dredges to glorious conclusions. Lead vocalist Champ Bennett evokes a Ben Gibbard with a soul (Although, Gibbard's inclusion on 'Lost Verses,' Mark Kozelek's opening track to 'April,' has me thinking maybe Ben can still accomplish something a little credible) and Mia Matsumiya proves once again that her flawless technique can easily make a good album great. In other words, the ambient soundscapes, the excellently contrasting vocals, and the pop sensibility from ’55:12’ is all here, the group has just really embellished on their old methods.

gregor samsa's 'rest'

'April' is a pretty easy record to sum up; eleven tracks of the most pure sincerity that deal with a variety of rekindled feelings. 'Tonight the Sky' perfectly encapsulates Neil Young in his Harvest era. 'Tonight in Bilbao' provides a touching update on the song structure of Sun Kil Moon's track 'Duk Koo Kim' but without all the extremities about South Korean boxers. The filler like 'The Light' and 'Heron Blue' which both seem like extremely safe Kozelek tracks are still excellently arranged and rival any of the highlights off of 'Tiny Cities'. Essentially, 'April' is an improvement and definition of what the Sun Kil Moon sound is really able to pull off. Lengthy, but for a reason. Intimate, but with enough courtesy to be vague enough to allow the listener to place themselves in the songs. Mark Kozelek defines the term “artist” and 'April' is yet another notch on his belt, an enveloping experience that calmly and quietly wins its way into your heart.

sun kil moon's 'april'

Sun Kil Moon - 'April' (2008)
Gregor Samsa - 'Rest' (2008)

Have A Nice Life - Deathconsciousness

Inherently in the realm of music criticism, two issues will always become extremely evident in most reviews. One, the writer will most likely alter his opinions based on other reviews: a record like My Bloody Valentine's "Loveless" may have never gained as much press as it has recently if some reviewer hadn't commented on Kevin Shields' ridiculous spending budget, or the fact that the group supposedly perfectly defined and destroyed the "shoegaze" genre. In my opinion, vast generalizations that are linked through the mainstream and underground music communities towards records are usually just bullshit. In just examining 2008's releases so far, Protest the Hero's "Fortress" has been heralded a classic almost unanimously amongst seventeen year old boys who probably spend more time playing Call of Duty 4 than they do artistically appreciating records for doing nothing but creatively combining a bunch of other band's ideas into an hour long "epic". I am not going to say this is a negative thing, I believe everyone is allowed to gauge what is important to them. But, when someone whose tastes consist of solely groups representing what I believe to be the downfall of modern music starts referencing a band I fawn over, like say, Off Minor, it does make me question my own legitimacy. In turn this questioning leads me to be less forthcoming with the bands that I feel are amazing. I originally said there are two issues every music critic has to deal with and while vast generalizations based on other reviews is a large one, the other is related to the point I just made. Lots of critics will praise albums that very little of the public knows solely for that reason. It makes sense, critics are constantly reading reviews that spew praise all over records that have "changed lives" and "impacted people emotionally more than anything", so why would they not copy that attitude and apply it to what they have found? I guess at this time I'll get a little personal and say why I am discussing this.

As a "music critic" myself I often find myself attempting to publicize records that I feel are cutting edge, provoking, and most of all emotional expressions. In almost every one of my reviews, I reference these ideas. If anyone talks to me about music it is clear to them that I am not one for stoic records. So, when I see fans of a band like Protest the Hero latching on to records that I feel like I have helped bring to the masses it bothers me. In a sense, it makes me want to stop reviewing. Because, it cheapens these records I've pined for over for days, weeks, months, years to understand. I was literally counting down the hours today to get home and listen to the record that this review covers, because it is already that special to me. It hurts when people declare something like Kayo Dot unworthy or if someone with a negative persona latches on to a group like Converge, because then I challenge my own conception of those records. In summary of those feelings, I suppose it comes down to the fact that we all must live with our own opinions on things and therefore just be happy that we've created such beautiful relationships with the art in our lives. Music criticism then becomes utterly useless and most of what I talk about is inane, but maybe someone will feel these reactions and in turn, go out and find their own, "Deathconsciousness". Maybe then I can feel like this review proved a point, as music in my eyes isn't about mass consumption, but rather establishing special relationships with those things that reflect something new, something provoking, something emotional, and most of all something real. As an example, I present Have a Nice Life's "Deathconsciousness".

"Deathconsciousness" is probably a perfect record. At the time of this review, I haven't really had enough time to digest it to declare it that, but I can't really think of any way for it to be better. The production, the tones, the chord choices, the vocals, the lyrics, the concepts, everything is stunningly brilliant and just laughably remarkable. If needed to provide examples, I could do it for every track. The slow and steady build that is "Bloodhail" tossing its way between a propulsive Joy Division-esque rhythm section and beautiful dual vocals, the drums that kick in and take "The Big Gloom" to a whole different spectrum of gorgeousness than the tracks preceding it even hinted at; there are so many great moments on this record I could talk about them for days. Well, I'm obviously getting ahead of myself. Have a Nice Life "is, was, and always will be Dan and Tim" as their myspace states and "Deathconsciousness" is essentially their five year discography, a dual-disc debut album that deals with a variety of concepts relating to religion, death and theories attached to those two ideas. Intensely personal in delivery, this is a record that is basically a collaboration of ideas ranging from industrial to post-punk to post-rock. A common thread would be Canada's patron saints of avant-doom Nadja, but even that duo don't possess the massive love of the melodic that Have a Nice Life demonstrates all over their debut. Tracks like "Hunter" show the group's massive devotion to their specific style of eighties soundscapes, but also echo with an earnestness that can only be related to the group's supposed leader Dan Barrett's punk-laden past, as he formerly did time in the relatively obscure post-hardcore group In Pieces. If anything, Have a Nice Life can be described as the perfect example of the suffix "post" in regards to all of the music that has come out in the indie circuit since 1980. It is taking all of the concepts that have made underground music what it is and strangling them in such a way that it creates something of a reminder of what progression actually means.

Impact-wise, an album hasn't hit me this hard since I heard Kayo Dot's "Dowsing Anemone with Copper Tongue" in late 2005. Not to say that there is any common thread between the two bands; Kayo Dot's massive shifts of grandiose proportion do not inspire any of the moments on "Deathconsciousness" in the slightest. This is an album that deals in minimal composition, and the expression of moods. It shifts and moves in the way one would expect someone's life to, and while the acoustic, solemn tracks like "Who Would Leave Their Son Out in the Sun?" are not extremely provoking conceptually, they just feel so natural that they can't be faulted. Continuing with the description of this being life-like, there are clear attempts at creating extremely energetic yet mood-based music on disc two of the record entitled "The Future". The track of the same name and "Waiting for Black Metal Records to Come in the Mail" are prime examples of songs that shift between guitar parts that resemble Fugazi and Ride and melodies that wouldn't sound out of place on the next Killers record. Obviously, those namedrops make the second disc sound like shit, but it is the perfect counterpoint to the obviously atmospheric first disc which is heavily drawn-out compositions that rely on slow blossoming into beautiful climaxes, "A Quick One Before the Eternal Worm Devours Connecticutt" being a key example.

To dive further into the relations between both discs, there is a steady sense of progression that follows its way through the entire record, beginning with the acoustic-laden intro of disc one and ending with the epic closure of disc two. The album in its entirety only clocks in at an easy hour and twenty five minutes, but in reality feels like it could go on for eternity. The songs never feel long and when one does continue for more than five minutes it is usually for good reason, which is more to say than a lot of bands that are playing this particular facet of "drone" music. Have a Nice Life know their limits, and they know what works and that is why "Deathconsciousness" succeeds.

So, what does or did "Deathconsciousness" teach me? Is it that records simply can surprise me or that when critical acclaim isn't applied that I have to clearly generate some to overstuff an average album? Is it that Have a Nice Life is a complete emotional replica of my current situation and that the overwhelming melancholy and despair of the album is part of my inner being? No, I don't really think there is anything that can be said about this record besides the fact that it is stunningly personal. In turn, it made me want to make this review stunningly personal, and that is what "Deathconsciousness" essentially did: inspire me. This record is draining, it is intelligent, it is an amazing composition, but most of all it is an inspiring, subdued lo-fi masterpiece that almost perfects the idea of home recording. The group of people involved with the production and creation of this record have shown through their music that they have no pretensions and are just trying to share what they've done with people that they think will appreciate it. Maybe in a sense, that is what my goal in music criticism is all about: to help similar-minded people find similarly enjoyable things. A simple concept brought to mind by a simple record.

Have a Nice Life - 'Deathconsciousness' Disc 1 (2008)
Have a Nice Life - 'Deathconsciousness' Disc 2 (2008)