Deafheaven:Retox:
Wreck and Reference:Wife
Intense Photo Essay + Live Review

Text and Photos by Matthew Grant Anson

There’s something special about Deafheaven, that much is clear. Regardless of the outlet (New York Times, anyone) that has lauded the band’s shoegaze-ish black metal (blackgaze is not a thing, okay), the band has made waves with their recorded and live work in equal amounts. Considering the band just played at the Echoplex in Los Angeles a few months ago, the uninitiated could be tempted to say their August 23rd show was a case of been-there-done-that. They would be wrong. While their earlier two-night showcase at the Echoplex was opening for Japanese sludge-droners Boris, the three band lineup preceding them last Friday was about as perfect a set up as possible.

The show began with Wife, the guitar/bass/effects only project comprised of Andrew Thomas and Touche Amore’s Nick Steinhardt. The two-man project stayed seated the entire set as they let their delay-laden riffs do the talking. Wife sounded like Have a Nice Life (if you enjoy shoegaze and enjoy feeling really depressed, they are worth your time) if that project only played post-rock, and the effect was captivating in the deft control of the atmosphere by the band. Aside from some misguided guest singing on the final song, the instrumental work was stunning. First acts can at times feel like more of an appetizer than an actual course of the musical meal, but Wife provided a legitimate opening for what was to come.

Following Wife was Wreck and Reference, the experimental noise two-piece that has steadily carved out a place for themselves in the realm of drone and doom. Both members were mic’d, with one behind a drum kit and the other equipped with some sort of bizarre electronic box covered in buttons and programmed with samples and the ability to produce devastating feedback. It was mesmerizing. Not only was the creation of the noise interesting to watch, but the actual sounds and faux-riffs at certain points approached straight-up amazing, leaving audience members with faces resembling the Barack Obama Not Bad meme. If the post-metal band Rosetta had switched to noise/drone, you would have W&R, and that is awesome.

DEAFHEAVEN

When Deafheaven played at The Smell a year and a half ago, they did so following the powerviolence of DNF, an occasion that saw the pits of DNF flow directly into the black metal of Deafheaven. Somehow having Deafheaven play at the direct conclusion of something in the hardcore vain creates this frenetic, urgent, and violent vibe – which is precisely what happened due to Retox. The Justin Pearson-fronted spastic hardcore group instantly created pits with the mathcore elements of their sound, somewhat reminiscent of the ridiculousness that comes from Pearson’s other band, The Locust, minus the electronic parts.

And finally, Deafheaven. This will sound strange, so brace yourself; the Internet Metal Nerd crowd reaction to Deafheaven, and vocalist George Clarke in particular, is reminiscent of the pubescent girl reaction to Justin Bieber. This is meant as a compliment. With every trip down south from San Francisco, it seems like the following and reaction of LA to Deafheaven increases in luster five-fold, and for good reason. Deafheaven at this point is basically one of the best live bands out there: George is a killer frontman that doesn’t limit himself to the stage, and Kerry McCoy’s songwriting skills lend themselves to a live setting. Since the release of their sophomore album “Sunbather,” the popular opinion to have is that their debut, “Roads to Judah,” was good but felt unfinished or its vision unrealized. Wrong: “Roads to Judah” was a great album, “Sunbather” is just better. The band’s growth from album one to album two has been mirrored by their growth onstage and the result is something not to be missed.

WIFE

WRECK AND REFERENCE

RETOX

DEAFHEAVEN