Deafheaven Raining Gemstones: An Exquisite Sold-Out Performance from the Theater at Ace Hotel

October 16th, 2021

Bleak. What does the word entice the mind to feel, and think of? It can be a taste from the chalice of sorrow and false hope, with the bitter, exhausting taste touching the tip of the tongue, completely taking the energy out from under you. We see bleakness in various forms, in such movies as Antichrist, The Skin I Live In, The Audition, Arlington Road, Dead Man’s Shoes, and the other countless titles out there. They remind you in fiction, and at times based on true events, how difficult life can be, where that void takes you. And sometimes, there is no fairytale ending to cling to, and not get those reassuring forehead kisses, that can instantly inspire the heart within. The same can be said in music, and Metal is certainly no forgotten stranger to what you can feel through the fibers of your wherewithal.

And 11 years ago, Deafheaven just did that. From the labels of Post-Black Metal, Shoegaze, Extreme music, Deafheaven mesmerized the seekers of dark, yet colourful musical emotions, with a breathtaking style of bleak, depraved Metal, filled with despairing, haunting instrumentals hidden within, a driving force of calm, and storm. From their sorrowful brilliance in Sunbather, the grittiness in New Bermuda, and to their eclectic, various experimentation in Ordinary Corrupt Human Love, Deafheaven have certainly not been fearful to tread different paths. Keeping with that mindset, the band’s latest record, Infinite Granite, takes their musical road into a blend of sonic Shoegaze, haunting clean vocals, and still the Deafheaven effect found all around the music. I admire and appreciate when bands take different chances, yet still provide such quality. To our delight, Deafheaven would play all of Infinite Granite, alongside other songs afterwards. Even when Iron Maiden played all of A Matter of Life and Death back then, it didn’t ever bother me. I’ll take a band playing a whole new album, then playing “All the Hits”, every time.

**Had to stop by Grill ‘Em All that evening, of course. The Pig Champion and the No More Mr. Nice Fries**

This would be my first visit to the Theatre at Ace Hotel, a stunning building that had that glorious feeling of the 20s, the Flappers dancing the night away with illegal booze and in hidden bars, old-school yet looking modern. The designs inside felt like a movie theater at that era, even the bar menu in retro style. Overall, a sensational looking venue and spot, and it only made the music portion for tonight, even further enticing.

**Not enough cats**, **not even close.**

The only opener on this special two-day California event, Berkeley the night before, Storefront Church. Assuming from their band name, I expected a non-Metal type of band, and while that assumption proved to be true, the atmosphere and multi-instruments used, I would describe as soothing and a mellow mood. The tempo didn’t change much through the first half of their set, but as far as the positives, the guitar effects were riveting. From an Organ sound, rich reverb and warm tones, Waylon Rector’s gorgeous guitar contributions, were personally my favorite aspect of Storefront Church. Front man and founder Lukas Frank kept it simple and sweet, playing alongside Rector, while his vocal style I could say would have been especially appreciated in the early 70s. A lone wolf walking down their own gravel coated path, if you will. Based off of the newer material of Deafheaven, and seeing quite a few Rock enthusiasts in the crowd, I figured at the least Storefront Church would receive a warm reception, and they most certainly did. A calming, headnodding tempo, with some charming, delicate colourful sounds within the guitar effects, Storefront Church brought something unique to the stage, and quietly impressed.

**Deafheaven’s delicately looking gorgeous backdrop during the *Infinite Granite* set**

Arriving on stage, with a stunning video backdrop of this explosion of stars that would be quite vital and terrific the rest of the evening, Deafheaven came out to a roar of anticipation and eagerness. It’s been roughly four years since I saw Deafheaven play the Echoplex, and I forgot how much the fans in attendance, give such energy and passion towards them. And, the best part about that, is the band gives it back tenfold, in return. The glistening moods and tones found throughout Infinite Granite, created this soothing yet burning tension in the air. Deafheaven is just excellent at what they do, even with their interpretation of Shoegaze. “In Blur” a prime example, of a sped-up tempo, with I must say, Daniel Tracy’s cymbal work crashing so cleanly, and adding such a spark to Kerry McCoy and Shiv Mehra’s cleaner riffs, and embodying passages of tranquility. You heard shades of this type of melody in Ordinary Corrupt Human Love, and it’s taken through a lens of beauty and bleak moments. Hearing the last two minutes of “Other Language”, with its own subtle interlude, enraging into a minor key outro, like a desolate compounding planet, withering away lifelessly. The video projection changed within each song of Infinite Granite, creating such a magnitude of wonder, imagination and sheer hypnotism.

Through talent, and undeniable charisma, vocalist, front man, and singer George Clarke was the wonderous highlight, of the entire evening. His stage presence has always been full of dancing movement, chaotic, emulating and bombastic. And while that was evident, plain as day, the emotional challenges you can see him dig deep within the newer material, I could feel the maturity and growth even further. Adding his trademark Falcon soaring screams and highs with the intense moments of “Villain” and “The Gnashing”, the amount of energy found within the lyrics, screams and movement, created a celestial frost that burned inside your bones, but the lingering pain healing your wounds. Clarke’s absolute brilliance onstage had the entire audience gushing in dance, mosh, and truly staying in the moment. The additional twists and turns found through the entire play of Infinite Granite, was such a treat, and I welcome and appreciate the change in doing something different.

Although not to be outdone, the 3-song encore consisted of the previous three records from Deafheaven. I’ll admit, visually it wasn’t quite the same as the video projection was some past live shows of Deafheaven, and other touring/studio footage. While it was quality footage, don’t misunderstand, but compared to the glowing nebulas, exploding planets and demented colourful imagery the Infinite Granite set possessed, it was somewhat of a letdown. But musically, performing “Honeycomb” after the varied calmness previously, felt even more impactful. Quite possibly the other highlight of the night, that opening riff sequence from “Brought to the Water” released Pandora’s Box of Carnage and Venom, from this sold-out crowd. Hearing this menacing gallop with the leveling distortion, was gifted an extra luxury, due to the rising tempo and combatant on-stage drive, that Kerry McCoy was furiously playing. Softening the fans early and honing in on the more Metal material late, just made for a spectacular display of Deafheaven’s stellar presence. With “Dream House” closing their profound 90-minute set, such a Mount Everest of a closing song from their magnum opus, Sunbather, it would be criminal to leave out the detail of security allowing anyone to go up to the front of the stage, creating an unofficial mosh pit area, one more for the road. A most rewarding and appreciating gesture from the staff.

Bleak. The word envisions non-comfortability, sorrow, distortion, and a method of dread. Through positive experiences, a hold on the unpredictability of life, and understanding your various roles in it, it can be swayed through a sense of joy. Extreme music and Metal I personally feel, are some of those memorable scenarios, and Deafheaven have shown prime examples, time and time again, on what it means to feel, and embrace smiling tears from their eclectic style of music. Infinite Granite reminds you their sensational ability to perform different types of music, and still translate into what Deafheaven beautifully deciphers. A band that takes chances, strengthens their strengths, and joyfully wishes to expand through new landscapes of sound, Deafheaven continues to inspire and set the bar blissfully high.