Review Summary: Lonely People With Power - Deafheaven reinvigorate themselves, taking slices from each of the cakes of previous releases.
Blackgaze has become one of the more commonly noted genres prevalent in the current trends of heavy music. Deafheaven’s latest offering harks back to their sophomore album (Sunbather) as well as departing from the vocal approach found on previous album Infinite Granite. For many fans of the band, the decision to include the scathing, vitriolic screaming once again has very much been welcomed by open arms and warm embraces. There is a clear insight into the flow and structure of Lonely People With Power. Coupled with unique guitars and incredibly impressive drums (which has usually been the case for all their releases), the main thing more noticeable is that every track here is packed full of great riffs and even better melodies. It is a dark vibe that cloaks each track.
Some will say (or shall I say most) this is similar to Sunbather more than any of their other releases. Whilst this can be vouched for, I would say this is better than Sunbather. The hooks and melodies that meander in between the main sections of guitar are catchy and original. There is also a little bit of clean singing sprinkled here and there too. But what most people are extremely pleased about is the return of the harsh vocals. And to be honest, so they should be – the harsh vocals are easily the best the vocalist has delivered since Sunbather. He never sounds forced or stretched and the intensity of the shrieks, yells and screams fit the music perfectly.
Lonely People With Power is an album full of character. It is also a dark album that takes several listens to appreciate fully. Plus, the replay value of this is very good and the whole thing is amazing from start to finish. Doberman is a brilliant example of a band back in their comfort zone – the drums are varied, technical and incredibly well produced. Plenty of blastbeats to keep up the intensity of the band during and after the party. However, their softer, dreamier passages of music are mostly absent from this album. Half of Amethyst employs the use of the quiet/loud trademark with a swelling of strings ushering the track in. Then the guitar enters with those ever ethereal motifs/leads that the band are so well known for. Revelator, on the other hand sounds utterly indomitable with the heavier riffs and the furious pace of the track. There is also a moment or two for slower, heavier riffs here and there that seem to blend with the faster riffs. All in all, I can safely say the band have released what could be their magnum opus. It is good to see the band writing exceptional music again – Winona is very ambitious yet = It just builds and builds in layers of sound ever so inconspicously before tearing your head off with a climax of screeching guitars and blastbeats. A definite highlight of the album – the transitions from heavy to lighter, quieter sections is masterfully executed and the flow of the album is that of a very engaging and rewarding listen. There is a little bit of all their releases featured on this – Sunbather’s heaviness, New Bermuda’s melodic guitar hooks and Ordinary Corrupt Love’s ‘vibe’. Album closer The Marvelous Orange Tree is an epic finish to an impressive album. Atmosphere and a balance of harsh/clean vocals are utilized tools on Lonely People With Power – most of the tracks on offer here incorporate strong melodies and inventive rhythms driven home by the man behind the band’s drumkit. Never uninspired in anything he plays, whether it be a fill, beat or groove, the drumming on this is very restrained and careful in the sense that amongst all the rage and screaming, the drummer can switch styles with success and aplomb.
Deafheaven have more than proved to us that they are THE number one blackgaze band of the moment. The return of the harsh vocals is a blessing and in all fairness George has done a grand job. His screams at times are blood-curdling but his cleans are still strong. Heathen features these vocals very prominently and I for one think they’ve improved since the release of Infinite Granite. There is a lot of emotion running through this release – many of the leads are incredibly profound and fitting and as for the vocals, they are essentially the greatest thing about the album. Every member of the band sounds fresh and invigorate. The mood of the album is that it is very apathetic yet also cathartic at moments too. The balance between harsh/clean, not only in the vocals but in the riffs as well, is handled well on this.
Overall, this album is magnificent. There is a little bit of everything present on this album that can entertain even the most moody of metalheads. The sprawling instrumental sections from OCHL are here, although in lower quantity and better quality. The production on this is fabulous - the bass is clear, the guitars sounds crunchy and George's roars and shrieks sound incredible. Could this be another AOTY contender? Who knows...
