Ever since I first heard ‘Dream House’ I’ve been utterly captivated by San Francisco’s Deafheaven. My anticipation for their sixth album Lonely People With Power weirdly found me manifest new music, just days before I saw their teasing messages on social media. Deafheaven have been the gateway to so much good heavy music I might never have heard. This is testament to the band’s invention and intention to combine wondrous melody with the dark beauty of black metal. George Clarke’s vocals can divide opinion but how he manages to pitch every line just so perfectly into the instrumentation is a work of genius. The way that guitarists Shiv Mehra and Kerry McCoy intertwine such ornate beauty with metallic brutality is unmatched. They’ve an incredibly tight bass and drum unit in Christoper Johnson and Daniel Tracy to underpin it all.
I worried that the band would struggle to top 2021’s Infinite Granite album. Taking the bold approach of almost entirely clean vocals, the melodic atmospherics and tones really hit the spot with me. However, it wasn’t for everyone, and the bold step may have pushed some fans away. That album was produced by Justin Meldal-Johnsen, not known for his work with metal acts, and they’ve gone back to Justin for this record. Expertly mixed by Zach Weeks at GodCity Studio, this album just sounds pristine and perfect. It also packs a hefty punch with some of Deafheaven’s heaviest moments, which should find any wayward fans charging back. It turns out I need not have worried as Lonely People With Power has managed to raise the bar yet again.
Opening with the brief intro piece ‘Incidental I’, which finds a despondent hum bring an unsettling tension. This builds up to the sturdy groove of ‘Doberman’ which swings like a wrecking ball as George unleashes his familiar growl. Within seconds it’s apparent that Deafheaven won’t be returning with the more delicate surrounds of Infinite Granite. When the blast beats double kick in Kerry and Shiv’s guitars layer up with some stunning melodies and textures. ‘Doberman’ soon assumes the mantle of being one of Deafheaven’s finest songs. Pulling in all the trademark crescendos and calmer moments, there’s a wondrous melodic break echoing ‘Incidental I’. Then the song charges headlong for the finish and it’s truly glorious as the myriads of melodies engulf you.
The lead track from the album, ‘Magnolia’, seemed to merely cause a ripple of excitement amongst some fans. Whilst pleased George’s clean vocals may feature less, the track kicked like a mule with a reliance on muscle rather than melody. But sitting where it does in the album’s track list it makes considerably more sense and is actually a very deceptive track with some very clever dynamics. I particularly find the screeching guitar that bookends the song quite the adrenaline rush. ‘The Garden Route’ opens with some delicious shimmering guitars harking the tones of Infinite Granite. Swathes of swirling guitars encircle as George’s vocals act almost as an instrument perfectly interjecting with guttural howls that drag out intensely. The song lurches from one expertly executed dynamic to another, facets of their previous albums neatly combining to stunning effect. This is more than just creating surface noise, the complex arrangements are utterly beguiling, every play revealing new layers.
A ghostly vocal chant leads into the sweeter tones of ‘Heathen’, the only track to feature prominent clean vocals. Acting as a little respite from George’s full-throated attack, the eruption of his hellish shrieks dismantles the calm. Kerry and Shiv pull out some beautiful chiming melodies as Daniel Tracy and Christopher Johnson work tirelessly with metronomic precision. After hearing this album in its entirety it’s very apparent that this is some of the finest drumming ever committed to tape. Clearly relieved at the heavy direction of the album, Daniel sounds in his element switching from unbelievable blast beats to intricate patterns in the blink of an eye.
Beautiful melodic passages open the melancholic ‘Amethyst’, George takes to speaking for the initial vocals before ripping into some vitriolic howls as the swirling guitars encircle him. The structure of ‘Amethyst’ moves from quiet calm to violent metallic passages with consummate ease, eventually yielding to the seismic noise. It’s around this point that the notion that this could well be Deafheaven’s finest album begins to enter my head. I don’t say this lightly as it’s like trying to decide on a favourite child. I’d also declared that Infinite Granite could not be topped, but this quintet of extremely talented musicians clearly had other ideas.
Things go a little experimental at this stage with the downright evil interlude ‘Incidental II’. An angry synth buzz drones menacingly as Jae Matthews of Boy Harsher sounds bloodied and bruised with a monotone but very effective vocal delivery. When the music fades to just a gently strummed guitar you sense perilous danger. This comes in the form of a hellish eruption of demonic growled vocals and a swell of bilious guitars. The opening surge of the full-on ‘Revelator’ startles as the band power through manic riffs and merciless blast beats. This is as heavy as Deafheaven have ever been (think ‘Black Brick’) and the whole thing threatens to derail such is the ferocity of the playing. Melody be damned. When the tempo finally stretches out to something more tangible the guitars drop like dying fireworks in a black sky. Returning to the quiet guitars from ‘Incidental II’ the track drops to almost silence which is totally unexpected. That’s a false dawn as George lets out a guttural howl and the band set out to kill their instruments underneath him with some violent thrashing.
Just when you think Deafheaven have played all their cards they knock the table over with the punk-metal of ‘Body Behavior’ which skanks along on some inventive guitar tones. George opts for a more straightforward vocal delivery that is snarly and full of bile. Remarkably it all works and adds to the complexity and variation of the album. Charging to its conclusion the band lock down into some seriously heavy riffing and thunderous drumming. I was curious to hear that Interpol’s Paul Banks was to feature on the album. He doesn’t break into song though adding a spoken word to the melancholic tones of ‘Incidental III’. Acting as interludes the well positioned pieces really enhance the flow of the album giving you time to gather breathe such is the level of intensity for the most part. Bleeding into the gorgeous waves of guitars that begin ‘Winona’ you feel a truly euphoric rush when the drums fire up and those heavenly guitars surge. It’s quite special how Deafheaven can fuse gorgeous melody with such ferocious metal, and it sounds totally natural. ‘Winona’ wants to compete with ‘Dream House’ as the guitars constantly try to arc in different ways pushing and pulling the melodies.
Closing song ‘The Marvelous Orange Tree’ opens with some beautiful guitars that shimmer and vibrate with wonder. Daniel drops a thunderous set of beats as Kerry and Shiv duel it out with glorious tones. Drifting into some clean vocals momentarily George adds to the dreamlike passage. There’s even a hint of violin in there. As the album winds to closure, the feeling that rushed over me on first listen was something that is very hard to put into words. You knew you’d just finished something truly remarkable and all consuming. Denial that Infinite granite has been bettered twisting my guts. But as the blissful waves of guitars and George’s beautiful shriek play out the final moments, it’s apparent that we have a new contender for best Deafheaven album.
I’ve listened to a lot of bands who have clearly been influenced by Deafheaven. This album just rips all those bands a new one. The levels of complexity, the twists and turns in dynamics, the endless possibilities of where to take a song, all executed with supreme ability. Pulling in all the best bits from their previous albums and adding inventive dynamics, Deafheaven have created a masterpiece that is without question, a modern classic.
