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.

When С крыш наших домов (S Krysh Nashikh Domov), the debut album by Molchat Doma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time.
Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own.
The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.

Monument is a fitting title for the third album by Belarusian trio Molchat Doma. Indeed, it stands as a monument to everything they’ve achieved in their short time as a band, from whispered-about unknowns, to enigmatic underground icons, to legitimate viral sensations with hundreds of thousands of TikTok videos using their music. Monument sees them return as conquering heroes, expanding on the minimalist greatness of S Krysh Nashikh Domov and Etazhi to fully realize a more maximalist vision of their crystalline post-punk sound.
Written and recorded while the band was quarantined in their hometown of Minsk during the COVID-19 pandemic, Monument is a conscious step up in songwriting and fidelity, and it reveals a band preternaturally comfortable in its own skin. Whether playing to the dancefloor, as they do on the synthpop anthem “Discoteque,” or working more introspectively on pre-pandemic live favorites “Otveta Net” and “Ne Smeshno,” Molchat Doma are in complete control. Their greatest strength has always been their songwriting, and they’ve only gotten better.
As the band’s arrangements have grown more sophisticated, so too have the sounds they use to bring them to life. Roman Komogortsev and Pavel Kozlov’s gear arsenal has grown to include an extensive range of synthesizers and drum machines, all of which they deploy with precision. Egor Shkutko’s vocals move fluidly between his familiar deadpan monotone and an expressive croon, his beautifully delivered Russian lyrics at turns bleak and romantic. Shkutko has often been compared to Ian Curtis, but here, he outgrows the comparison.
With Monument, Molchat Doma have done one of the hardest things to do as a band. They’ve greatly expanded the scope of their music while retaining everything that made them great in the first place.

Pornography is the fourth studio album by English rock band the Cure, released on 4 May 1982 by the record label Fiction. Preceded by the non-album single "Charlotte Sometimes" late the previous year, Pornography was the band's first album with a new producer, Phil Thornalley, and was recorded at RAK Studios from January to April. The sessions saw the group on the brink of collapse, with heavy drug use, band in-fighting and group leader Robert Smith's depression fuelling the album's musical and lyrical content. Pornography represents the conclusion of the group's early dark, gloomy musical phase which began with Seventeen Seconds in 1980.

In the Flat Field was released on 3 November 1980 by record label 4AD. It was met with a negative response from critics, but topped the UK Independent Albums Chart and made the UK Albums Chart for one week, peaking at No. 72.
The album was first released on CD by 4AD in April 1988, with eight bonus tracks including three non-album singles: "Dark Entries", "Terror Couple Kill Colonel" and a cover of T. Rex's "Telegram Sam." Five of these bonus tracks had been previously compiled on the 4AD EP in 1983.
On 19 October 2009, 4AD/Beggars Banquet reissued the album as an "Omnibus Edition", featuring the 24-bit John Dent remastered CD of the original nine-track album in a replica mini-LP sleeve (with corresponding inner sleeve featuring the lyrics), plus a 16-track bonus disc of singles, outtakes, alternate recordings and original versions. The set came inside a semi-long box, coupled with a 48-page book that included comments from band members, photos, complete lyrics, complete tour date information for 1979 and 1980, and an essay by Andrew Brooksbank on the formation and creation of the band, the singles and the album.
or journalist Andy Gill, the dark atmosphere of the record was reminiscent of previous works by groups like Siouxsie and the Banshees, Adam and the Ants, and Joy Division. In his AllMusic review, critic Ned Raggett described Bauhaus as a "glam-inspired rock band", said that singer Peter Murphy channeled both Iggy Pop and David Bowie, and compared Daniel Ash's guitar playing to Mick Ronson's. Raggett noted that the album concluded with "a dramatic ending" with the song "Nerves"

Lebanon Hanover ist eine 2010 gegründete Dark-Wave-Band.

Lebanon Hanover are among the most beloved protagonists of Fabrika. This is their first studio album and the forth to be released in an extraordinarily creative period of almost three years. This album reflects a process of musical maturing and self-knowledge, though inward-looking and intimate, it has no difficulties entering deep into the emotional world of the listener. Dominated by the voice of Larissa Iceglass, which embraces us like an unknown warmth coming straight from the blackest abyss, the elegance of the guitar parts, the sad bass and synthesizer melodies, the poetic tenderness of the lyrics, this album is of a unique hopeful but gloomy romantic. ‘’Besides the abyss’’ is gorgeous and timeless. Lebanon Hanover hold the key to our soul as we all ‘’walk a path of failures and of heights’’. Their way of giving new breath to old structures, of expressing a universal emotion, is almost addictive and we consider ourselves lucky not having to live long without their music.
The album consists of ten new recordings. It has been written and performed by Larissa Iceglass and William Maybelline in Athens, May 2013. For the first time a guest musician goes with Lebanon Hanover in the studio, playing for “the Moor’’ the most sorrow-filled saxophone you’ve ever heard. Chris Manolitsis is the man behind the production, mixing and mastering, giving the final touch, intensifying these tracks exactly the way he did it in the early 80s. An edition of 1000 is now underway and we expect the record to be ready in late February, 2015. Vinyl comes with a unique album cover, lyrics and a free download code .

Why not just be solo. A revolt of two disorientated romantics sharing the same antipathy for modern music and trying to live for love in a time where nobody likes each other anymore.

Almost one year ago since their last release on Fabrika, Lebanon Hanover return with their third full length, in an edition of 1000 hand-numbered LP format, the first 300 copies in limited grey vinyl and 700 copies in black vinyl. The first impression emerging from the cover reveals a continuity between the second and the third LP, but ''tomb for two'' is not just the next set of songs from these two modern romantics. Larissa and William are completely devoted to their music, they don't have a home, they don't need one, they tour around the world, getting payed off for their hard work by finding out that there still are some sensitives in a world of hipocricy. This is the music of a rebellion against the digital world of today. The 10 track album includes 8 new and unreleased compositions and a download code.

The second LP by Belarussian trio Molchat Doma, Этажи (pronounced Etazhi, meaning “Floors”), was first released in 2018 on Berlin-based Detriti Records. It became a viral hit, garnering over one million views on YouTube and becoming a legitimate phenomenon on Bandcamp. The band may fly under the radar in their native Belarus, but they’ve reached huge audiences across Europe and beyond. Six separate vinyl pressings of the album have sold out in quick succession, and Sacred Bones Records is now thrilled to bring the record back in print for good.
Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own.
The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.

Berlin and Newcastle based cold wave duo LEBANON HANOVER, who serve up an icey cool helping of dark, synthetic doom pop, mixing German and English girl/boy vocals with razor wire guitars and gother than thou bass lines.

如同坠入空阔的无人深海，再被宿命拉回灰暗的现实。梦呓式的话语在近乎错乱癫狂的躁动中呈现出真挚而荒诞的宗教感，涌动固执的声响氛围让人不禁投入超现实主义的扭转世界。