DEAFHEAVEN’S NEW ALBUM ‘ORDINARY CORRUPT HUMAN LOVE’: OUT NOW
"Rife with twinkling, twisting guitars that build into a head-banging crunch." – Rolling Stone
“Deafheaven's most confounding record and necessarily its most emotionally impressionistic, free to be interpreted in whatever way the listener needs.” – NPR
"Human Love thrives in the moments where the extraordinary and the commonplace collide and become indistinguishable. In search of something quietly universal, Deafheaven can’t help but notice the tiny miracle in each breath." – Pitchfork (8.5/10, Best New Music)
“A beautiful, epic piece.” – Decibel (8/10)
“Sublime atmospheric beauty lingers over everything like a haze.” – Stereogum (Album of the Week)
Last night (July 11th) in Phoenix, Arizona, Deafheaven launched their North American headlining tour in support of their excellent new album Ordinary Corrupt Human Love (which is due out tomorrow, July 13th). The polarizing genre-defying quintet are joined by the eclectic lineup of dark wave makeup mavens Drab Majesty and NYC industrial misanthropes Uniform on the run, as well as by photographer, videographer and Revolver contributor Sean Stout, who is documenting the cross-country trek. Below, see his evocative photos of the kick-off date’s pre-show mundanity and ultimate high drama.
After the soothing sound of the ocean tide, the first instrument you hear on Ordinary Corrupt Human Love is a piano. Soon its somber neoclassical arpeggios are intertwining with the yearning slide guitar that has marked many of the most pleasant interludes on previous Deafheaven tracks, and before long the song has bloomed into an elegant suite not unlike the second half of “Layla.” A loosely swaying drumbeat lifts the music to a low cruising altitude. A woman’s voice low in the mix reads poetry about a transformative twilight stroll, evoking smoke-blinded eyes and geese “shrieking into what was left of the evening.” It all builds up so naturally and gradually that when Kerry McCoy’s guitar goes whipping upward into “November Rain” theatrics and George Clarke’s harsh black metal growl finally enters the frame, they feel of a piece with the beauty surrounding them — clouds that ominously gather for some thunderclaps before dispersing without a storm.