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Deafheaven - New Bermuda


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Talking about the track, frontman George Clarke said, "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."

Yeah, because playing in Deafheaven must be so hard to deal with.

Not in love with the production on this album. It sounds like every other sterile modern metal album. Sunbather's production was PERFECT, the perfect mixture of clarity and atmosphere and analog liveliness. It was living and breathing... organic.

This record is tight and closed and flat. I like that they experiment with regular guitar leads here, but.... where's the delay? Put some fucking delay on that. Its so dry.

Clean break section is pretty sick, but I can't fucking stand the sound of those drums.

Yeah, I hate this production. This is everything I dislike about modern extreme metal production. It's like everything is stacked together. It doesn't sound like a group; it sounds like a bunch of tracks on top of each other, with no coherence in the mix.

The music itself, the writing, is fucking sick.

Anybody else hearing "Kiss Me" by Sixpence Nonethericher melody in there too? Lol. Right before the fade-out part that leads to the piano.

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Yeah, I hate this production. This is everything I dislike about modern extreme metal production. It's like everything is stacked together. It doesn't sound like a group; it sounds like a bunch of tracks on top of each other, with no coherence in the mix.

You might not have taken into account that you've listened to a 256kb soundcloud stream.

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You might not have taken into account that you've listened to a 256kb soundcloud stream.

I get what you're saying but that's not the issue.

I just don't like the sound of the instruments. The guitars are missing that dripping, soggy, swollen atmospheric aspect that I love(d) so much about Deafheaven's sound.

This production is just far too clean and dry for me. It sounds like it was recorded in a lab. Everything is too perfect. The instruments don't sit together in the mix the way they do on Roads and Sunbather. Rather than a group hug, they're all standing apart from each other.

This is just not at all the "sound" I want from Deafheaven. They've gone commercial, making everything slick and fancy and clean in the production department.

The riffing style on this track is way different too, lots of thrash style picking patterns. They even do the Raining Blood groove at the beginning with those triplets.

This sounds like Deafheaven with the lights on. There's no atmosphere or vibe here.

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You can't blame the band for wanting to take a step forward -- it may be considered back in some minds, but I don't think that's accurate. The genre has become a bit over-saturated. 

 

Here's a quote from the press release. No one should be expecting Sunbather, part two.

 

" McCoy cites death metal demigods Dissection and Morbid Angel, the blackened death pioneers Behemoth, and Cliff Burton-era Metallica as influences on the new album."

 

Sounds like "Brought to the Water" is actually a good segue track between the Sunbather sound and where they're headed. It continues:

 

"Within the ten-minute span of “Brought To The Water”, you can hear the ferocity, discord, and dexterity of those heavier predilections, but you can also hear the electrified melancholy of post-hardcore and post-rock. As New Bermuda progresses, Deafheaven travels further outside of their comfort zone, feasting on other niches of underground metal and offsetting the blunt force of their feral rage with more complex and nuanced beauty. On “Luna”, the band storms out of the gate with a snarling thrash riff, barrels through their trademark barrage of decimating drums and corrosive guitars, and seamlessly drops down into a morose clean-picked breakdown that would make Johnny Marr proud. A similar sophisticated and subdued pop element kicks off “Baby Blue”, before the band abruptly shifts into an amalgam of NWOBHM’s anthemic urgency and thrash metal’s racing chugs. There’s a brief comedown where the band veers into the musique concrete soundscapes and hushed melodrama of early Godspeed You! Black Emperor before “Come Back” resumes the band’s merciless assault of stampeding drums and vitriolic guitar harmonies, only to shift mid-song into the somber territories of 4AD’s early catalog."

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Bahaha what a pitchfork-esque review.

 

"The drums swell and pound with the treble of a stormy sea and the shoreline is just out of a sight but you can feel its lingering presence as an invisible beacon of hope in the distance.  This new Deafheaven track is embittered by the elements and transcends the uniformity of your every day metal band."

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