Lonely People with Power
I’ll be real—Deafheaven had me a little nervous after Infinite Granite. That album wasn’t bad at all, but it was a huge departure from their usual sound. The black metal influences were basically stripped away in favor of straight-up shoegaze, and while I respected the ambition, it left a lot of people wondering where the hell the band was headed next. So when they started teasing Lonely People With Power with singles that sounded like classic Deafheaven—big, soaring guitars, frantic blast beats, and George Clarke absolutely losing his mind on vocals—I was hyped. And after sitting with this album? I can confidently say they delivered.
This isn’t just a return to form. This is the best they’ve sounded since Sunbather. Maybe even better.
Let’s talk sound. The blackgaze is back, but it’s not just a retread of their old material. If anything, it feels like the band has finally cracked the formula they’ve been chasing for years. Where New Bermuda felt almost too aggressive in response to Sunbather, and Ordinary Corrupt Human Love kind of meandered in its softer moments, this album balances everything perfectly. The clean sections aren’t just breathers—they build tension, making the explosions hit even harder. A track like “Heathen” starts with these ethereal, reverb-soaked guitars and steady, hypnotic drums before absolutely erupting into a wall of sound. It’s the kind of dynamic shift that should feel predictable, but the execution is just so damn satisfying that you don’t care.
And the guitars. Holy hell, the guitars. They feel more urgent than ever—whether they’re layering these rich, anthemic chords or cutting through the mix with piercing leads, everything just hits. Tracks like “Magnolia” and “The Garden Route” have some of the most intense, emotionally charged riffs I’ve heard from them, and it makes for some of the most powerful moments in their entire catalog.
Performance-wise, Clarke sounds possessed in the best way possible. His screams are raw, desperate, and full of emotion, and even when he leans into cleaner vocals, they feel more intentional than before. And the rhythm section? Absolutely locked in. The drumming is as relentless as ever, providing this huge, almost cinematic wall of noise that makes everything feel even bigger.
Another thing I love about this album? The songwriting is tight. No song overstays its welcome—there’s not a single track over ten minutes, which is kind of a big deal for Deafheaven. Instead of dragging things out, every moment feels necessary, every transition earned. They’ve clearly refined their approach, making for an album that’s surprisingly easy to get into despite being as heavy and emotional as ever.
There are also some cool surprises. “Amethyst” features some spoken word passages that add this eerie, dreamlike atmosphere, showing a different side of Clarke’s vocal approach. “Revelator” is insane, with some of the most intense riffs and vocals on the whole record—there’s a section where the band completely drops out, leaving just a faint, reverb-drenched guitar before they slam back in, and it’s one of the hardest-hitting moments they’ve ever written. And even the shorter interlude tracks, which could’ve easily felt like filler, actually add to the atmosphere of the album instead of just padding the runtime.
When it’s all said and done, Lonely People With Power feels like everything Deafheaven has been working toward for the last decade. It takes the best elements of Sunbather, New Bermuda, and even Infinite Granite and refines them into something that feels both fresh and definitive. It’s huge, it’s emotional, and it’s an album that proves why they’ve remained one of the most exciting bands in heavy music.
DEAFHEAVEN - LONELY PEOPLE WITH POWER
RATING - 8.8/10
FAVORITE TRACK - Magnolia
GENRE - Alt/Indie, Metal, Rock