Lonely People With Power

With the release of 'Lonely People With Power', Deafheaven continue to inhabit the liminal space between black metal and shoegaze. While their previous outings established them as torchbearers of the 'blackgaze' movement, this latest offering leans more heavily into the 'gaze' element, opting for expansive, textured soundscapes that occasionally sacrifice the sharp, jagged edges of traditional black metal for a more fluid, post-metal aesthetic.

From the opening 'Incidental I', it is clear that the production is designed to envelop. The guitars are thick with reverb, creating a wall of sound that feels both cavernous and intimate. The transition into 'Doberman' showcases a shift in dynamic; the blast beats are present but are often submerged beneath layers of shimmering distortion. It is a deliberate choice that prioritises atmosphere, yet it can occasionally dilute the impact of the underlying riffs.

Deafheaven trade visceral aggression for a hazy, shoegaze-soaked atmosphere that prioritises mood over musical muscle.

'Magnolia' and 'The Garden Route' serve as the album's core pillars of atmosphere. Here, the songwriting relies on gradual builds and repetitive, hypnotic motifs. The technicality is not found in complex fretwork, but in the careful layering of frequencies. However, for the listener seeking the frantic, high-velocity assault of early black metal, these passages may feel overly indulgent. The structure is deliberate, but the lack of sudden, jarring shifts can lead to a sense of stagnation in the mid-album stretch.

'Heathen' and 'Amethyst' provide the most substantial moments of musical weight. In 'Heathen', the low-end is particularly well-defined, providing a solid foundation for the soaring, ethereal vocals. The interplay between the crushing weight of the guitars and the ethereal vocal delivery creates a compelling tension. 'Amethyst' follows a similar trajectory, utilizing a slower tempo to let the textures breathe, though the repetitive nature of the melodic progression feels somewhat safe.

The inclusion of guest features on the 'Incidental' tracks suggests a desire to broaden the sonic palette. The collaboration with Jae Matthews on 'Incidental II' adds a layer of haunting texture, while the appearance of Paul Banks on 'Incidental III' provides a different vocal weight. These moments act as palate cleansers, breaking up the dense wall of sound with distinct, albeit brief, shifts in perspective.

'Revelator' and 'Body Behavior' attempt to inject more movement into the record. 'Revelator' features a more pronounced rhythmic drive, though it still remains firmly within the hazy aesthetic. 'Body Behavior' is perhaps the most 'metal' moment on the record, featuring a more discernible riff structure, yet it still feels filtered through the band's signature veil of reverb. It is a consistent vision, even if it occasionally feels too consistent.

The closing stretch, featuring 'Winona' and 'The Marvelous Orange Tree', brings the album to a cinematic conclusion. 'The Marvelous Orange Tree' is a sprawling piece that leans heavily into the post-metal influence, utilizing long, drawn-out passages to build a sense of grandeur. It is a grand finale, but one that reinforces the album's primary thesis: the atmosphere is the ultimate goal.

Ultimately, 'Lonely People With Power' is a polished, well-executed piece of work that solidifies Deafheaven's position in the genre. While it may lack the raw, visceral punch of more aggressive black metal, it excels in its creation of a cohesive, immersive world. It is a sophisticated, if somewhat safe, evolution of their sound. The production is impeccable, ensuring that every layer of the 'wall' is audible, even if that wall is designed to obscure the details.

For the listener who values the aesthetic of the 'gaze'—the blurring of lines, the weight of the atmosphere, and the beauty of the decay—this is a rewarding experience. For those seeking technical complexity or raw, unadulterated aggression, the album may feel too polished and too submerged in its own production. It is a deliberate, moody, and highly consistent piece of work that prioritises the feeling of the music over the mechanics of the performance.