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| Deafheaven | |
|---|---|
| Name | Deafheaven |
| Origin | San Francisco, California, United States |
| Years active | 2010–present |
| Genres | Black metal, post-rock, shoegaze, post-metal |
| Labels | Deathwish Inc., Sargent House |
| Associated acts | Liturgy (band), Chelsea Wolfe, Wolves in the Throne Room, Oxbow (band) |
Deafheaven is an American band formed in San Francisco in 2010 known for blending elements of black metal, post-rock, and shoegaze. The group achieved widespread attention with a breakthrough release that drew coverage from outlets including Pitchfork, The New York Times, and Rolling Stone. Their work has provoked debate across scenes associated with Metal Blade Records-era metal, Sub Pop-affiliated indie, and international festival circuits such as Primavera Sound and Roadburn Festival.
Formed by former members of Bay Area projects and friends from the San Francisco underground, the band recorded early material with producers connected to Deathwish Inc. and released a debut that circulated among scenes linked to Relapse Records, Sargent House, and campus radio networks. Early touring placed them alongside acts from Profound Lore Records rosters and established names on bills with Converge, Isis (band), and Liturgy (band), while European festival appearances put them in proximity to Mayhem (band), Emperor (band), and Ulver. Subsequent albums were produced in sessions involving engineers and studios that had worked with Kurt Ballou, Jack Shirley, and other figures associated with Fort Apache Studios-era recordings. Lineup changes occurred through the 2010s as members moved between projects linked to Sun Kil Moon, Grails (band), and Russian Circles collaborators, culminating in releases on Sargent House that expanded their international profile through partnerships with promoters tied to Live Nation and boutique European agencies.
The band's sound synthesizes motifs from Norwegian black metal bands like Mayhem (band), Burzum, and Emperor (band) with melodic approaches found in Explosions in the Sky, My Bloody Valentine, and Slowdive. Critics and listeners have connected their dynamics to post-metal practitioners such as Pelican (band), Isis (band), and Cult of Luna, while vocal delivery evokes parallels with artists on Century Media Records and underground labels associated with Southern Lord Records. Guitar textures reference effects and production techniques used by Kevin Shields and producers who worked with Ride (band), Cocteau Twins, and Talking Heads, whereas compositional ambition recalls song-structures found in works by Swans (band), Godspeed You! Black Emperor, and Sigur Rós. The band cites influences spanning Terry Riley, John Fahey, and contemporary peers such as Chelsea Wolfe, Weyes Blood, and Bon Iver in interviews and liner-note acknowledgments.
Core membership has included musicians with ties to Bay Area and national projects: founding figures who previously played with collectives linked to O'Brother (band), Bosnian Rainbows, and local San Francisco punk scenes that interacted with The Murder City Devils and Green Day. Touring and session contributors have included artists associated with Deftones, Alice in Chains, and Tool-adjacent musicians, as well as keyboard and string players from ensembles linked to Seattle Symphony, SF Opera, and chamber groups that collaborated with Sufjan Stevens. Over time the roster has featured members who also record in studio settings with producers like Steve Albini, Jack Endino, and engineers who have worked with Nirvana and Soundgarden alumni.
Their catalog includes self-released early recordings followed by label albums that garnered international distribution through partners familiar with catalogs from Deathwish Inc., Sargent House, and distributors that handle catalogues for Sony Music Entertainment-distributed indie imprints. Releases have been issued on vinyl and digital formats alongside special editions coordinated with pressing plants used by Third Man Records and packaging designers who worked for Sub Pop and 4AD. Notable studio albums and EPs have appeared in year-end lists from The Guardian, NME, Spin (magazine), and Consequence (magazine), and have been licensed for compilation appearances curated by entities such as Adult Swim and Red Bull music initiatives.
The band has performed extensively on international circuits, appearing at festivals including Glastonbury Festival, Coachella Valley Music and Arts Festival, Primavera Sound, Download Festival, and niche events like Roadburn Festival and Hellfest. Tours have seen them support or co-headline with acts from the metal, post-rock, and indie scenes such as Deftones, Mastodon, Sigur Rós, Interpol, and The National, while participating in curated packages with promoters associated with SXSW, CMJ Music Marathon, and European club circuits tied to Pitchfork Music Festival promoters. Live lineups frequently incorporate additional musicians from orchestral and synth backgrounds and have featured collaborations staged with artists linked to Dan Deacon, Perfume Genius, and avant-garde collectives.
Reactions among critics ranged from accolades in publications like Pitchfork, The New Yorker, and The New York Times to polarized commentary in niche metal zines affiliated with Decibel (magazine), Metal Hammer, and indie blogs associated with Stereogum and BrooklynVegan. The band's work has been cited in academic and journalistic discussions alongside movements traced through post-rock, shoegaze, and contemporary black metal scholarship connected to institutions like University of California, Berkeley and Goldsmiths, University of London. Their legacy includes influence on emerging acts within scenes linked to Relapse Records, Profound Lore Records, and DIY collectives, and contributions to debates about genre boundaries that intersect with curatorial practices at venues such as The Fillmore (San Francisco), The Warfield, and European cultural centers operated by Tate Modern-affiliated programs.
Category:American musical groups