Deafheaven photos live from their “Leave Them All Behind 2012” show in Tokyo on November 4, 2012 many thanks to Tadashi and our friends at Daymare Recordings and Smash all photos courtesy of Teppei.
(Source: sargenthouse, via dfhvn)
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November 30, 2012. Playing with Bosse de Nage and Wreck and Reference. Also the first time we have ever played San Francisco on a weekend. $8 advance tickets. All Ages. Hope to see you there.
Deafheaven Head to Japan for Leave Them All Behind and Shows with Godflesh
DEAFHEAVEN JAPAN 2012
Nov 4: Tokyo @ UNIT Leave Them All Behind Fest w/ Godflesh, Envy & Mortalized
Nov 5: Osaka @ Conpass w/ Godflesh
Nov 6: Nagoya @ Club Upset
Nov 7: Tokyo @ Shibuya O-Nest w/Heaven In Her Arms & Isolate
SEE ALL DEAFHEAVEN SHOWS AND DETAILS
Pitchfork has premiered our cover of “Punk Rock/Cody”. You can pre-order the split release with Bosse de Nage from Flenser Records now.
Steel For Brains: Knit the Fire - A Conversation with Deafheaven
Leaving little room for doubt that their sound is both triumphant and terrifyingly beautiful, Deafheaven is that band which immediately carves its way into the channels of the listener’s consciousness. Their stunning debut, Roads to Judah, released last year to much critical acclaim and, let’s be honest, hype - was and is well worth the press. Taking the post-rock noise of their Godspeed predecessors and weaving that through a tapestry of raw emotion and black metal aesthetics places Deafheaven in a league rarely seen in the metal genre. It’s not that vocalist George Clarke set out to break new ground or create what is perhaps one of the most intriguing and challenging metal albums of the last few years, but he did it all the same with Roads to Judah. The good news is - it’s only the beginning. I recently had the privilege of chatting with George just to discuss, among other things, the process of making the album and why Roads to Judah is a baby step in a much larger journey for the band.The first question I have for you, George, concerns the evolution of Deafheaven. From the inception of the group to where you guys are now, sonically, personally, emotionally – in what ways have you seen that growth for you guys as a band?
I think initially when we started out, we had an idea of what we wanted to accomplish musically, but not necessarily all the tools and the know-how of how to do it. I think as time has gone by, we’ve done a lot of touring, and we’ve played with a lot of great bands, and our personal relationships have grown with one another – I think those things have definitely helped us out a lot. I think the new material that we’re writing – it shows a large amount of growth. I mean, we still have the same idea that we started out with, but it’s expanded quite a bit.
As a musician, what are your personal origins?
I mean, you know, since I was young I’ve been pretty much listening to everything. Middle school years and things like that, it was definitely metal, and then when it got to early high school years it became metal and punk, and then from that point it just expanded into a ton of different directions – just being exposed to so many different bands and so many different genres. But, my musical journey – if you want to call it that – started out in metal. You know, Slayer, early Florida death metal scene like Obituary, Deicide, Cannibal Corpse. I got really into death metal at an early age, and then got more into punk and hardcore in high school. Always listened to death metal still, but there were other things as well. Instrumental, new wave, even pop or whatever you want to call it. It’s just grown bigger and bigger. I have a pretty big appreciation for music on all levels.
You can certainly hear the diverse background in Deafheaven’s music, George. There’s not a specific point of reference for the listener, and I think that kind of conglomeration of sound is just one thing that sets you guys apart. Any time you talk to a musician or band who’s just coming together and has a specific sound they’re trying to create or emulate, it tends to be just that – a kind of mimicry, and that’s one thing you don’t get from Deafheaven. The influences? Yes. But the sound is solely yours. I was introduced to Roads to Judah a few weeks after the album dropped and was immediately floored by the lack of a place I could put the band’s sound. It’s something I personally always look for in a group and something I think garners a lot of the respect you guys have from fans and critics alike. As far as the evolution of metal itself, George, I think you’ve been around long enough to sort of see the changes occurring within the genre itself. When I hear the metal I grew up with and compare it to the sounds and music being produced and embraced today by surprising sects of the media, it’s interesting to see that kind of progression and respect for a genre that’s admittedly been around for years. How do you feel about the recent trends with regards to the genre?
I absolutely agree. I think there’s definitely been a lot more attention paid to it. I think there’s a kind of large major media outlet focus on it. I mean, you know, to tell the truth, I don’t why in just the last couple of years people have picked up on it as much as they have. I think it’s a genre that should have always been appreciated at that level, but at the same time it’s not as accessible as other types of music, and these things can take time. You know, that same situation can be applicable to a multitude of genres. Metal, you know, was never featured on things like Pitchfork and NPR as heavily as it is now. Metal’s always had its major outlets and things, but the wider audience it’s getting now thanks to those outlets, I think it’s cool. I think there’s a lot of work going into the independent scene, especially. I think fans of the metal scene have basically grown up and gone to work for NPR or Pitchfork and are deciding to pay more attention to it. I’m definitely not against it. I think that, if anything, it’s a natural progression to where the genre’s appreciate should go.
(Source: steelforbrains.com)
The cover for our upcoming split release with Bosse de Nage. Artwork and layout by Bryan Manning and Harry Cantwell.
DEAFHEAVEN: The DROPP: Deafheaven & Bosse-de-Nage to record split Plus, Deafheaven to release 2010 Demo on vinyl
California-based Bay Area black metal mixers, Deafheaven and Boss-de-Nage, will be in the studio this weekend, recording a split to be released sometime this Fall on Flenser.
[We had the opportunity to catch Deavheaven at Will’s Pub as well as have an interview…
We will be recording a cover of Mogwai’s “Punk Rock/Cody” for an upcoming split with Bosse de Nage, due out on Flenser Records by the end of 2012.
Pre-Order Demo on Vinyl
Deafheaven’s first release demo has been remastered and is available for the first time ever on Vinyl 12” courtesy of Sargent House. You can pre-order it separately or take advantage of this limited bundle offer that includes a vinyl slip-mat and t-shirt printed on American Apparel with a copy of demo on Vinyl. Orders will ship on or around October 1st.
ORDER HERE
DEAFHEAVEN: Deafheaven's DEMO Remastered and to be released on Limited Vinyl
Deafheaven’s debut from 2010 simply called Demo has been remastered by Jack Shirley and is getting a proper vinyl release, courtesy of Sargent House. The 12” will be Limited to 1000 copies. The band is currently writing their follow up to Roads To Judah which will be recorded this…
