Review: Deafheaven @ The Gov 08/07/26
Blackgaze masters Deafheaven left Adelaide wanting more after their visceral showing at The Gov.
Words Will Oakeshott // Images Danny Wallace
Deafheaven, SPY & Peace Ritual @ The Gov 08/07/26
“Is it blissful? It’s like a dream.” – George Clarke, Deafheaven, ‘Dream House’, Sunbather (2013).
Deafheaven’s artistic rendition of the subgenre Blackgaze is a poetic whirlwind of mystification. Fusing the raw discordant brutality of black metal with the scintillating majesty of shoegaze music is a coalescence that almost transcends reality.
It could be described as the heavy metal journey into a version of euphoria.
Alternatively, or even more commendably, as vocalist George Clarke sensationally screams in the charismatic composition ‘Dream House’: “Is it blissful? It’s like a dream.”
The dream began with Sydney’s emotional indie alt-rockers Peace Ritual, and their inviting, idyllic soothing compositions quickly hypnotised the growing audience into a floating entrancement.
“Bring it in, I promise we are a gentle band,” frontman Joel Martorana instructed with an immeasurably warm welcome.
His description was flawlessly accurate.
Channelling the ethereal alt-dream-pop rock of prolific outfits such as Turnover, No Devotion and even elements of Sunny Day Real Estate, the quintet transported attendees to a haven of divine wonderment almost effortlessly. Featuring numerous new songs from an upcoming record, the five-piece showcased a heavenly artistry with infectious honesty that was extremely captivating, especially with ‘Lucky Star’ and ‘Shine’.
“A week ago we received a call from Lochie Watt asking if we would be interested in jumping on this tour last minute, and I am so happy we were able to make this happen. Mixed bills are great!” Mr Martorana expressed gleefully.
‘Cold Shoulder’ was a jangly alt-punk venture that incited an adoring sway from the crowd until the grunge-driven dynamism flourished, provoking numerous concertgoers to lovingly dance along. The closing track ‘Sigh’ was a heartening delight that the criminally underrated Somos from Boston would have admired due to its infectious honesty, delicacy and radiance.
Keep eyes and ears open for this new release coming from Peace Ritual – this next chapter after Endless Heights is certainly one to cherish wholeheartedly.
From dreamy to destructive, California’s SPY was here to set The Gov alight in brash hardcore mayhem, and accomplished this the instant they stormed the stage. The quintet erupted in an unhinged psychosis of enraged lunacy, similar to a pack of Iberian Wolves attacking a herd of unsuspecting Red Deer; the prey understandably being the Adelaide audience in this metaphor.
The five-piece’s set was undeniably a “Hellfest dream performance” that instigated the mosh-ninjas into a frenzy of adrenaline-fueled admiration. Combining the influential sounds of Converge, Black Flag, Trash Talk and earlier Ceremony, but with colossal groove beatdowns and disturbing dissonance, this was a riot and beyond remarkable.
Vocalist Peter Pawlak is a madman, but in the best way possible. His fly kicks, predatory death stares, bellowing roars and in-your-face attitude were harrowing and unforgivingly prodigious. The rest of the band superbly showcased a deranged hysteria in their demonstration, utilising their instruments and bodies like weapons, triggering utter madness from their onlookers.
The songs were executed rapidly, essentially melting into an onslaught of enthralling chaos. Even though we were witnesses to this magnificent pandemonium, we were also victims, and it was truly, tremendous.
This was SPY’s second visit to our city, and Mr Pawlak sent his love out to Adelaide. “The first time we were here, we played at the Cranka - Rest In Peace!”
“I wanna see my moshers, where are my moshers?” he then enquired, knowing full well the turmoil he was fantastically provoking would imminently explode at his instruction.
‘Afraid Of Everything’ was simultaneously an amazing warning and a wondrous walloping of crust punk and beatdown hardcore that caused the walls to shake in fearful reverence. It seemed to end all too soon; Adelaide had become a casualty of SPY’s ferocity, and the need to undergo this rampage again is beyond tangible.
SPY’s Australian destruction part three is required to happen as soon as conceivably possible – this is not a request.
“…from extremely harsh noise to extremely delicate beauty.”
This was a description written by Thursday’s Geoff Rickly in a review of Deafheaven’s seminal sophomore studio full-length Sunbather in 2013 for the Talkhouse publication.
Undoubtedly, these eight words still faultlessly capture the Californian blackgaze trailblazers’ prolific artistry, even after 13 years.
“Adelaide, GET UP!” frontman George Clarke demanded as he charged The Gov’s platform in a rousing display of passion.
From spiritual to savage, to soul-enriching, all within one charismatic composition, this is what Deafheaven achieve and enthrallingly exhibit with every musical journey they take their spectators on.
“Is it blissful? It’s like a dream.”
‘Doberman’ was a poetic odyssey of scintillating screams and cacophonous animosity, combined with an accelerated post-rock elegance that was not of this universe. How drummer Daniel Tracy, bassist Chris Johnson, as well as guitarists Shiv Mehra and Kerry McCoy, combine their talents to produce such electrified, harmonious harshness in their sonic landscape was honestly perplexing and mesmerising.
Perplexing and mesmerising – welcome to Deafheaven.
Mr Clarke’s intensity elevated for ‘Magnolia’. He stared directly into his watchers’ souls, and they were entranced in veneration as the thunderous soundscapes of Deafheaven cascaded in brutal brilliance. ‘Brought To The Water’ escalated this dazzling delusion further, with Slayer-esque riffage and a sinister splendour enhanced by the opening “church bell” sound effect.
‘Sunbather’ introduced a magical melody into the malevolence, and Clarke span, danced and conducted his audience into a rhapsodic enchantment. His essence was, to a degree, reflective of the spellbinding glow Ian Curtis championed with Joy Division. However, their intensities are worlds apart, yet unconditionally fascinating.
Adelaide was soon snapped out of its dream when The Gov’s stage suddenly lost all power.
Clarke superbly entertained the audience with jokes about getting his “step count up”, as well as sitting and meeting a few very lucky crowd members. The “forced” intermission was soon over, and the vocalist then announced: “We’re gonna need you to keep moving again if you were before, and if you weren’t, now is the time to hop in.”
‘Body Behaviour’ morphed into a black metal dance party; this writer will admit that this description sounds beyond conceivable, but this is exactly what Deafheaven are gloriously capable of motivating from their observers. They inspire a unique ecstasy that is above compelling.
‘Amethyst’ was a dreamlike disorientation of orchestral magnificence and malice all at once. The aura of the demonstration was so diabolical that gravity seemed to vanish momentarily.
Then, the quintet exited the stage.
An encore commenced with the eerie ‘Incidental II’, which begs for a Robert Eggers soundtrack inclusion. ‘Revelator’ enriched this wonderful wickedness sublimely; Clarke presented the microphone to the crowd so they could contribute to the black metal choir, while his eyes rolled into the back of his mind in a form of metallic meditation.
‘Dream House’ was incredibly bewildering and monumental, with the smoke machines escalating a cinematic aura that left everyone delightfully disoriented in awe.
‘Incidental III’ and ‘Winona’ were the epic conclusions to this theatrical blackgaze masterpiece exhibition. Every member of Deafheaven pushed the limits of their instruments to a breaking point, they lifted themselves, they lifted the audience, they lifted Adelaide - the demonstration felt like a rapturous escape from reality…
“Is it blissful? It’s like a dream.”
Thank you, Deafheaven.
Want more pics of the gig? Check out our full photo gallery here.
