I think Dan was more likely to continue with, and he ended up doing more Giles Corey stuff around the same stripped down instrumentation with, where maybe our relationship ended up being, “How can we take that core of a song and turn it into something that sounds much bigger and has a different darker tone based on different synths and electric guitar instrumentation we can add?” There are a handful of songs like that on the album, but not so many. Dan was playing just that and I was like, “What about the Casio tone beat playing? What about these keyboard lines around it? What about a part that sounds like Rammstein after?” There were a lot of layers after a bare bones acoustic thing. I think a few songs on the album were, like “Holy Fucking Shit 40,000” was based on an old acoustic song. In terms of contrast, there was certainly never conflict. It was just a grand sum of a lot of ideas we tried to flush out and bring to fruition.
I remember it more or less being, “Dude, I got a song today, it goes 'duh duh duh duh duh,' and some words should be in there about x, y, and z, cool.” I think Deathconsciousness itself ended up being a stylistically mixed album, and we picked those pieces out of an even bigger mix of stylistic pieces.
And recording, wheras before it was writing a lot of songs and putting them into a four-track and a digital video thing. Around the time Dan was with In Pieces but then they disbanded and we started getting more serious with the possibilities. Macuga: As far as eventually coalescing into “this is going to be a double album of thematically connected stuff,” I didn’t see that until a couple years later in 2005 or 2006. Noisey: At the start of writing these songs, how did your visions compare and contrast to each other? So, we chatted with the band-Barrett and Tim Macuga-about the record and some other stuff. Really, the record shows that no matter what a person does during the day, they're capable of creating something universal and larger than life if the time is put in. Music aside, Dan Barrett's transparancy and willingness to chat with anyone makes him seem more like a buddy than a musician to a lot of people. Many people could relate to the soul-sundering honesty of The Big Gloom, feel the complete emotional release of Earthmover, or just feel the infectious dancey parts of Deep, Deep. No matter where someone's tastes lay, there was something on the record for everyone, and everyone got something different out of it. As someone who spent more of their high school years on /mu/ than anywhere else, I'd say very few records received as much universal praise and attention as Deathconsciousness. Not too long after the record was released, a few users on the board picked it up, and started posting the record's album art nonstop, leaving the image of Jacques-Louis David's The Death of Marat burned into the retinas of regular users. After the album's release, it started gaining traction in territories one probably wouldn't expect namely 4chan's /mu/ board for music.
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