Have A Nice Life - The Unnatural World (Album Review)

 

Have A Nice Life - The Unnatural World

(2014)

My copy: 2020 reissue on milky clear vinyl with black and purple splatter by Enemies List Home Recordings and Flenser Records.

Even with the growing cult popularity of Deathconsciousness, Have A Nice Life’s Dan Barrett and Tim Macuga decided to keep things simple (and lo-fi) as they broke their six years of silence with The Unnatural World. Subtle, blissful droning moments take on new personalities in their lo-fi cages though the duo strays into uninspired post-punk territory one too many times. 

Drone ambiance lingers quietly on “Guggenheim Wax Museum” before industrial, grinding drum loops rupture tinges of melody. Still - the drums are low in the mix, and initially the production is ill-utilized unlike their more creative debut. Later, however, the intro track impresses with crying tremolo, imitating modern post-rock eruptions. Barrett’s vocals are as emotional and soaring as they were before though they feel too spotlighted and dramatic on this record. “Defenestration Song” is the band’s first real miss, crossing simple post-punk trudging with lo-fi wannabe cock-rock riffs that sound like a TASCAM recording from outside a stadium show. The lingering feedback is the sole punk element in this second track. 

“Burial Society” feels like a preview of Barrett’s solo project Black Wing with its electronic percussion loop and brooding piano, and a more restrained vocal performance that impresses until the later aggression skirts a bit too close to emo rock. The roaring, far-off mechanical blasts of “Music Will Untune The Sky” sounds like transformers blowing from down the street, which is heightened by a gloomy bassline and bleeding keys. Barrett loves working in odd spoken samples as is the case with “Cropsey,” here being effective in how the chosen interview begins to overlap, only disappearing when galloping drums split the song in two. A motif for chimes keeps steady over the track as it commits to dense repetition, adding and subtracting bass for good measure. 

“Unholy Life” is only kept from anthemic pop-punk by its trashy production, though the discerning won’t be fooled. Fortunately, “Dan And Tim, Reunited By Fate” is the lone masterpiece of the record, punching in with an addicting and drunken bass groove under glitching drum loops. The accusatory confidence of Barrett’s vocals are exactly what the record needs as opposed to the more common emotional howls. The structure is rocked by brutal walls of guitar, just slightly detuned and warped, as organ chords glide overhead. Guitars eventually turn to whammy-bar death rattles, as the drones rise and collapse in the track’s final moments. Finale “Emptiness Will Eat The Witch” is notable for its humble composition and dedication to atmosphere, though the piercing stick clicks (or perhaps woodblock?) that occasionally rings out is a bit jarring. It is enjoyable, however, that there is not an embarrassing final post-punk jam, rather an abrupt cut to silence. 

The Unnatural World is a fine sequel, though the foundation is showing clear signs of instability. Deathconsciousness may feel like lightning in a bottle by comparison, but this sophomore release does include some seriously impressive material scattered about. Not quite as interesting even as Barrett’s two other solo debuts, this record sits more as a home for a few great moments that are better suited for a best-of list.