In this spacious demise known as a soul, Have A Nice Life is an embodiment of that dying light that seems to flicker against the drawing blinds. A light reflected in their 2008 record, Deathconsciousness which combines the vast with the gentle, an embrace behind the tundra.
Opening with the entirely atmospheric track, “A Quick One Before The Eternal Worm Devours Connecticut” may sound strange, but it’s that uneasiness Have A Nice Life can channel into the majority of Deathconsciousness. Every being on Deathconsciousness or track rather is often over five minutes long as an average and stretches to touch both the fear of life coming to an end and the rebirth of the unknown.
The first track, “Bloodhail“ is doused in this corrosive acid that melts away through the low-tuned bass notes and guitar without a serious direction. Much of Deathconsciousness for that matter is lost within itself, relating to the numbness that overtakes the audience through a traumatic experience. Have A Nice Life is not quite existential, but it does not make any strides of hope in the long-term either.
On “Bloodhail,” the lyrics that come are dissociative but ultimately become pieces that stand as a matching piece of the musical lucidity. At first, the vocals come off slightly whined and match the work of a SoundCloud revival rapper that enjoyed too much Good Charlotte, but the sound grows on the listener with each revisit to the record.
This made the instrumentals become the most important factor for falling in love with Deathconsciousness. Without those gruff and sometimes harrowing instrumentals, much of Have A Nice Life would have resulted in this harder-to-take serious mentality behind the production.
Taking a track like “Hunter” which uses a total sacrifice of self as the main discussion, the lyrics describe, “You can wear my skin as armor, you can eat my flesh and bones. Leave nothing that is needed, all I have is yours.” The production uses this metal on metal scrape to format a background with dark reds and nearly velvet greys. Essences of New Wave start to flood the ears and at times, the overpowering nature of the instrumentalization shows a prowess to Have A Nice Life.
Later tracks like “There Is No Food” are entirely instrumental and resorts to a similar tactic that “A Quick One Before The Eternal Worm Devours Connecticut” does. With a real grasp on creating distance to be the motivating factor, Deathconsciousness etches through 13 tracks and over an hour of noise.
The use of undefinable space and limitless potential of sound becomes a graveyard for the mind, giving Have A Nice Life a proper burial through
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“A playlist of tracks that were featured on MattsMusicMine.com from the week of May 3rd – 9th. From Reviews to Streams, never miss a track with these playlists that are uploaded every single Sunday till I drop dead.”
Featuring: Power Trip, LUCKI, Mykki Blanco, Jamila Woods, Jay Cue, Skyzoo, Hypnotic Brass Ensemble, Krum, Propaganda, Derek Minor, Pale Saints, Young Thug, Gunna, YTB Trench, Lil Baby, Kombat, Genune, Undo K From Hot, Big Kahuna OG, Fly Anakin, DJ Format, The Alchemist, Earl Sweatshirt, Navy Blue, Pink Siifu, Maxo, City Girl, tiffi, Hate Eternal, ALTARAGE, Mattiel
Track List: Manifest Decimation, Crossbreaker, No Joke, Love Me, Bed-Stuy Is Burning, Hell Knows, Way The World Is, Language Of Flowers, Paid The Fine, Conceived In A Dumpster, To Drown Within Yourself, 750 Dispel, FOX & BLADE, Brainstorm, Nobles, Holy Hell, PACK IT UP BOY, All Hope Destroyed, Maneuvre, Those Words
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Recorded + Mixed By: Zac Montez
Artwork By: John Wiese
Track List: Pile Of Dead Horses, Branches Of Yew, Crawling Back To God, The Cosmic Vein, Black Iron, Halogen Bulb, Amber Mote, Barb And Sap, Ashen Mesh, Bone Coral And Brine, Gnawed Flesh
Cold Meat quickly earned a spot on the record rotation for being this immaculately emotional monster with their 2020 album, Hot And Flustered. That 10 track introduction was the first real meeting with the Australian punk rockers and it was love at first scream.
Now moving back a little bit into their catalog, Cold Meat has a four-track EP under the name of Jimmy’s Lipstick. While a similar animal to its bigger brother Hot And Flustered, there are reasons that set them apart from each other and create a deeper bond to the destroyers from Down Under.
Opening Jimmy’s Lipstick with a simple title, “I Hate Myself” is a tense building track that opens from the depths with drums performed by Gotti-Lotti. These drums become the pillar for Cold Meat to work upon and begin to sculpt one of the more exhilarating bursts of energy in nearly two-and-a-half minutes. The bass work that rolls over from Terrible Tim coincides with the string work from Kyle Kunt on guitars. The last final piece comes as vocalist Ashley “Ack!Ack!Ack!” Ack who is just a delight over the production.
She becomes a voice of reason that describes, “I hate myself, but I hate you more,” while the instrumentalists ramp up to be more aggressive and nearly spitting images of animalistic solidity. This coalition takes the audience and finds a space for them to fit. Whether as the punching muscle or the punching bag, Cold Meat continues to orchestrate what makes Jimmy’s Lipstick an integral potion for the ears. With each slash and dash through the bone and marrow of the piece, moments like “I Hate Myself” continue to bring back the listener for more.
More comes in the form of “Au Naturel” which is faster than the intro track and frighteningly as vicious as a razorblade explosion. The constant burning and stabbing becomes a method of ugliness for Cold Meat to burst through. It takes a moment to get accustomed to Ack’s vocals, but once they bypass the first security perimeter, Jimmy’s Lipstick is about nine minutes of porcelain destruction.
They smash and grab through the entire mix and leave little in the wake for a revival. Instead, Cold Meat takes your head and pushes it into the concrete, becoming a schoolyard bully until the audience can finally “say ‘Uncle.’”