Sunbather came out more than two years ago but the enormous cloud of hype and acclaim that initially hung over it still persists to this day and to me it’s one of those records that have become inseparable with the time period in which they were released. Ten years from now when I’m talking about music with my friends it’s the first thing I’m going to recall at the mention of 2013 and I’m going to be as baffled as I would be in the past if someone says they don’t like it. Not in a bigoted kind of way, more of a wonderment about the fact that there are people who don’t appreciate a piece of art as passionately as you do. You know what I mean.
In hindsight, the central idea on which Sunbather was built is not at all novel or innovative. Forcing a three-way marriage between black metal, post rock, and shoegaze has been the objective of countless bands around the world and perhaps some of them are better at it than Deafheaven. But as the sole writer of this piece it’s my responsibility to be honest with those who are reading it which is why I would like you to know that I believe no one is doing it better than Deafheaven. Just listen to a new track they just dropped:
“We wanted to share ‘Brought to the Water’ first because it gives a good idea of the overall sonic tone of the record and really evokes feelings that come with uprooting and throwing oneself into the complacent, monotonous routine of adulthood.” Said frontman George Clarke on the official premiere of the track. Indeed, if you pay attention to its progression you will find that it’s akin to the stages of grief and disillusionment one experiences when undergoing transition. Ominous palm-muted riffs thunder between nauseating minor chords as Clarke begins what is possibly his most versatile vocal performance yet since “From the Kettle onto the Coil”, going from fragmented black metal shrieks to pained screams and back again. This portion represents anger, confusion. Around the three-minute mark the instrumentation slows down, making way for a blissful solo that smooths out the atmosphere–a realization that things might not be as bad as they seem. The latter half opens with a brief post rock passage that shimmers with tremolo-picked guitars and a steady drum beat, culminating beautifully in an ecstatic wall of sound that sees the return of the main motif of the post rock passage as Clarke confesses “My world closes its eyes to sex and laughter.”–an acceptance toward the harsh realities of the world and the harm they have caused to his past, but also a celebration of the momentary happiness that makes it all worth it.
New Bermuda releases worldwide October 2nd.
ASASI 