It is an honor for us to announce that we are publishing the first two books written and photographed by George L. Clarke of Deafheaven.
“Westlake and Evergreen are stories dealing with identity, aloneness, fear and the idea of willful anonymity in which characters are purposefully a mystery to themselves and others. Inspired by The Sweet Flypaper of Life by Langston Hughes and Ray DeCarava, I aim to guide and contextualize these stories with photography. I have also added in bits of prose, dh related lyrics, etc. Each is 80 pages. I made a few and they’ll be signed and mailed out when I’m back from tour mid October. Thank you to Chelsea, Nick, and Cathy for their help with this. “ - George L. Clarke
When Slipknot dropped their self-titled debut album in 1999, it sent shock waves through the rock and metal world. It was so ferocious and yet so catchy, so maniacal and yet so meticulous — from the industrial menace of "742617000027" all the way through to the raw, spasmodic grind of "hidden" track "Eeyore." Then there was the band themselves: the masks, the jumpsuits, the "fuck you all" attitude of their interviews, the "fuck you all even harder" attitude of their live shows. Below, on the eve of the album's 20th anniversary, Deafheaven frontman George Clarke looks back on the first time Slipknot blew his mind and the impact the album has had on him ever since.
Experimental heavy band Deafheaven, fresh off of a co-headlining tour with Baroness, has proven an act of its ilk can make its way on the road and do things its own way while continuing to grow, from a recent Grammy nomination to increasing ticket sales across the board.
“I think the greatest thing about moving up in size and rooms is the freedom to be more creative,” says Deafheaven frontman George Clarke, mentioning the band’s added production effects on its latest tours. “It’s always a dream of mine to make our show bigger and more entertaining.”
Deafheaven & Touché Amoré have announced their co-headlining EU/UK 2019 tour with support from Portrayal of Guilt. Tickets on sale Friday, April 26th at deafheaven.com
SEP 16 Budapest, HU @ A38 SEP 17 Ljubljana, SL @ Kino Siska SEP 18 Milan, IT @ Santeria Social Club SEP 20 Vienna, AT @ Arena SEP 21 Prague, CZ @ Meet Factory SEP 22 Berlin, DE @ SO36 SEP 23 Copenhagen, DK @ Vega SEP 25 Hamburg, DE @ Markthalle SEP 26 Haarlem, NL @ Patronaat SEP 27 Wiesbaden, DE @ Schlachthof SEP 29 Bristol, UK @ SWX SEP 30 Newcastle, UK @ Riverside OCT 01 Glasgow, UK @ Garage OCT 02 Manchester, UK @ Academy 2 OCT 03 London, UK @ Electric Ballroom OCT 04 Brussels, BE @ AB Ballroom OCT 05 Paris, FR @ Trabendo OCT 07 Cologne, DE @ Carlswerk Victoria OCT 08 Munich, DE @ Backstage Werk OCT 09 Zurich, CH @ Rote Fabrik OCT 10 Lyon, FR @ Epicerie Moderne OCT 11 Barcelona, ES @ AMFest OCT 12 Madrid, ES @ Sala Shoko OCT 13 Porto, PT @ Amplifest
Setting the Stage: A steady rain descended on Manhattan as fans filtered into the industrial concert space Terminal 5 for a stacked bill. Baroness and Deafheaven were making the final stop on their co-headlining tour with support from Zeal & Ardor, and though none of these bands sound alike, they all craft metal on their own terms and without creative borders. From the swamplands of Georgia, Baroness emerged 15 years ago with their joyous, lyrical sludge, while Deafheaven rose out of San Francisco at the beginning of the decade to turn black metal onto itself for positivity and romance rather than evil. There were artistic parallels and a welcome sonic contrast between bands, which made for a lively, well-paced evening of music.