Posts Tagged ‘Ordinary Corrupt Human Love’

In 2011, Deafheaven founders George Clarke and Kerry McCoy used their debut album, Roads to Judah, to establish their new band’s sound: a mix of sparkling post-rock guitars, wistful shoegaze, blast beats and, most conspicuously, Clarke’s strangled, hissing vocals, obviously influenced by screamo and black metal bands.

Then in 2013, the rest of the world caught on via the band’s second album Sunbather, which presented Clarke and McCoy’s yearning romanticism, genre-blind approach and clean-cut look through a polished lens. Reviews were overwhelmingly positive and the band’s audience grew significantly, but purists from many corners of the musical world

Clarke and McCoy did what any good punks would do: They went harsher and heavier and darker on their third album, New Bermuda, stripping away some of the daydreamy haze of their previous works. Not that it mattered much. For most listeners (the ones who would ever encounter Deafheaven, at least) their opinion of the band had been formed. They were either brilliant stylistic synthesists or eternal poseurs. There is no in between,

On Ordinary Corrupt Human Love, Deafheaven gets back to being exactly what it wants to be, and they waste no time diving way down into the deep end. Opening track “You Without End” is more or less a piano-pop song with a vaguely ’80s vibe, adorned with a spoken-word piece by Nadia Kury, decidedly non-blast drum beats and guitars that swoop and soar. Deafheaven, without question, has a distinctive sound. Here, however, they don’t sound like themselves until Clarke comes in halfway through, howling about dark tunnels and glowing orbs and love. Later, “Night People” and “Near continue the band’s explorations; the former a goth-rock duet with Chelsea Wolfe, and the latter a pillowy psych number reminiscent of Pink Floyd. Clarke sings cleanly on both; no snarls, no growls, and so on. The guitars have always been Deafheaven’s bleeding edge, even when they were obscured by black metal vocals or handsome haircuts or bright pink album cover art. Deafheaven is a ambitious heavy rock band, a gathering of innovative musical minds, and one of the very best guitar bands on Earth. Ordinary Corrupt Human Love is strong evidence of all three.

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Listen to Deafheaven’s new album ‘Ordinary Corrupt Human Love’

For a black metal band, Deafheaven’s sounds often feel light and effortless. The San Francisco rockers’ impressive blend of post-hardcore, screamo, and heavy metal achieves a surprisingly transcendent, almost revelatory quality, fueled by tight and aggressive rhythms and frontman George Clarke’s raw, guttural shrieks. Ordinary Corrupt Human Love, which follows 2015’s New Bermuda and 2013’s crossover hit Sunbather, is out July 13th via Anti-Records. Check out the track “Canary Yellow”  which clocks in at over 12 minutes long. Opening with an airy and melodic vibe, the track soon explodes into perfectly controlled hard rock chaos.

Previewed by furious singles ‘Honeycomb’ and ‘Canary Yellow’, the record follows 2015’s ‘New Bermuda’ and comes ahead of a series of UK headline shows later in the year.

“Honeycomb” by Deafheaven from the album ‘Ordinary Corrupt Human Love,’ available July 13th

Daily Dose: Deafheaven, "Canary Yellow"

Deafheaven’s sound often feel light and effortless. The San Francisco rockers’ impressive blend of post-hardcore, screamo, and heavy metal achieves a surprisingly transcendent, almost revelatory quality, fueled by tight and aggressive rhythms and frontman George Clarke’s raw, guttural shrieks.

Ordinary Corrupt Human Love, which follows 2015’s New Bermuda and 2013’s crossover hit Sunbather, is out July 13th via Anti-Records. Check out the song “Canary Yellow” below, which clocks in at over 12 minutes long. Opening with an airy and melodic vibe, the track soon explodes into perfectly controlled hard rock chaos.

“Canary Yellow” by Deafheaven from the album ‘Ordinary Corrupt Human Love,’ available July 13th