It's like this and like that and like this. A culmination of over five years of material re-recorded and put on a double disc for yr listening pleasure. First off, the production is stellar. It's not glossy and polished so that it completely shines, but it's not like a lo-fi demo or anything. Have A Nice Life walks the line in between perfectly. As for a shoegaze band at heart, is it going to make you put yr hands over yr face in contempt for how apparent it sounds to all the old throwback 90's acts? Not at all. Sure, influences are widespread, from plenty of shoegaze bands, to drone acts like Sunn O))) to industrial and even metal. But Deathconsciousness as a whole contains its own identity and treads its own path. You know as soon as you sit down to listen to the entire thing and realize after it's too late that you're are completely sucked in and along for the ride. I love the tongue in cheek humor and feel it adds that much more to Have A Nice Life's charm. Waiting for Black Metal Records to Come in the Mail? Genius. Makes me think of hipsters reading the latest Pitchfork review showering Xasthur in accolades over his cutting edge depressive black metal and then going out to indulge in the monotonous dirge that Scott Conner creates.
Sometimes, the conditions are just right for the appreciation of new music. I first started exploring Have a Nice Life’s double album debut as I was leaving my house at 5:45 am last Saturday, still in a somnambulist daze, feeling the cold winter night across my face while overlooking the city lights of Toronto from the lonely hilltop leading my street to the empty road heading south. It was in those moments of dreary isolation, where it felt like the only living souls were miles away in the distance, that the early moments of Deathconsciousness began to seep in. This is record, though far from perfect, delivers an emotional wallop that seems unparalleled. A mysterious synthesis of post-punk, shoegaze, metal and post-rock, Have a Nice Life’s ghostly ruminations aren’t just careful homages to their favorite genres and influences, they instead push the boundaries of them to get to their dramatic core, presenting a perfect summation of where the underground has been and where it will be going.

Nick Cave changed the sound of music as part of the seminal goth-punks The Birthday Party. With his band of 20 years, The Bad Seeds, his solo work has veered between poignant gospel-inflected ballads and the steamy thud of backwater blues and country. This double album showcases both these sides of Cave's songwriting, with The Bad Seeds rising to fine, even funky, form. "Abattoir" is more rock 'n' roll with gospel overtones and salacious grooves, while "Lyre" is rawer and more experimental with a lot of acoustic instrumentation.

没搞错吧？——《关于性交的歌曲》？ 　这就是这支要命的乐队，残酷的吉他噪音、失真的演唱和稀奇古怪的歌词(经常显现出厌女症倾向)轻易树立了八十年代中期美国地下音乐中最极端、最虚无主义的乐队典范。说是典范，但以吉他手Steve Albini 为首的音乐臭流氓们在音乐上体现的却是彻头彻尾的倒退，从一开始他们的目的就是”更重、更噪、更肮脏“，直至1987年这张大成之作打到巅峰。
音乐是什么？你在孤独的深夜里对爱情美好的遐想？你对幸福的童年亲切回忆？——不，音乐是碾过你耳膜的压路机。同意这个观点的人很少，所以除了个别专门的店铺，当时几乎所有的唱片店里都没有这张骇人听闻的唱片。超级厚重的疯克低音、超级冷酷的鼓机、超级失真吉他创造了比德国机器人乐队Kraftwerk更没人性的超级噪音风格，除了愤怒和疯克，更多的是创造性。九十年代的年轻乐队们从Big Black 身上不仅学到了噪音吉他，也学到了朋克的伦理观。
你是虐待狂或是受虐狂吗？这张唱片可以帮你分析一下。
——— XZ 《吵死人唱片B》，《我爱摇滚乐》

Re-TROS are looking to extend their influence on their new album, Before the Applause. Due to arrive September 22nd via Modern Sky Records, it was recorded and mixed by Hector Castillo (David Bowie, Björk) in Beijing and Brooklyn. The nine-track effort is said to have incorporated “more experimental, electronic soundscapes,” and their latest single “Red Rum Aviv” drives this point home. A manic, colorful rush for over five minutes, there’s layered waves of rolling percussion, sizzling and driving guitars, and elastic vocals that seem to stretch in all directions.
“‘Red Rum Aviv’ is the first time we used loopstation in a song,” Hua Dong, the group’s lead singer/guitarist/keyboardist tells Consequence of Sound. “It’s also the first time we’ve added elements outside of classical post punk to our music. It was inspired by an article I’ve read about the Stanford Prison Experiment.”

Fragment（东方碎片）是一个载体，记录着信息碎片化时代秘密行动对外部物质世界的理解和内在精神世界的剖析。它是现代东方文明这台高速运转的巨型机器掉落的一枚碎片，它拥有西方科幻式的冰冷严肃的外部形式，却装载着一颗神秘内敛，具有东方色彩的内心。乐队通过《Fragment》这样一张半概念化专辑完美地展现了东西方交融的时代背景下文明失控的场景。

星期一下午随音乐的中断戛然而止。拉灭电闸、穿过地下室通道重返地面，三个人向三个方向离开。
阳光稀少，天色是灰青的。这是流放在北方的第七个十二月，仍会有早至的黑夜、满街脏雪，以及半小时后如期到来的晚高峰。从地下室钻出来的和从玻璃建筑钻出来的，混成一片，看不出什么区别。一切都在冷空气中静静地颤栗着，这个夜晚，每个夜晚。每一只践踏在人行道上的脚印，每一条汇集于地铁站前的队列，全都指向同一个没有意外的结局——没有告示、没有舞曲，白炽灯和信息瀑布将是那里的全部交代。回归的路程并不算远，但双腿已经命运般去向了错误的航线。
离开队列意味着更多难挨的时间。太冷了，颤栗从鞋底贯穿头顶，脑袋变得比跟腱还要僵硬。这是酒也解决不了的问题。即便被醉意裹挟进某条陌生的岔路，即便以野狗的步子再走下去几公里，剩余的黑夜也根本打发不完。它会有足够的漫长，足够把那些从夏天开始的故事重新再讲上一遍：在那里，一只龋齿的脱落抑或一片街区的覆灭，都不会比一首歌持续得更久。故事的章节随脚步声翻过，一双充血的眼睛恶毒地逼视着。行走、流窜，从一个路口到另一个，从一个恨意到另一个。走到第七个年头，开始有光线从巷子尽头的拐角处倾泻过来——起先是某个公厕窗口的灯，随后是一排饭店，醉汉们瘫坐在玻璃另一侧的杯盘里。穿过铁皮围墙的裂隙，公开的夜晚再次统治了一切。
但那时街上已经没什么人了，只有夜班公交零星驶过，混合一些烧纸的气味从路口处窜起。在橘皮色街灯的木然里，一根烟蒂被碾灭，一支吉他伴着沙的声音扫了起来。
这是北京，这是安定时期的冬季。这是《前夜的乘客》，孤独的利里乐队的第二张录音室唱片。
《前夜的乘客》从2019年12月到2020年5月录制于北京Psychic Kong录音室和太合音乐录音室，由杨海崧负责唱片的制作、录音与混音；Garrett Haines在美国Treelady Studios完成了母带工程。唱片封面与内页由王晓晗设计。唱片由兵马司与Indie Works发行。所有歌曲的创作与演奏来自孤独的利里（Lonely Leary）乐队。
孤独的利里由邱驰、宋昂和李保宁构成。