{"id":256557,"date":"2025-03-29T06:37:55","date_gmt":"2025-03-29T06:37:55","guid":{"rendered":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-deafheaven-bring-back-the-heaviness-on-lonely-people-with-power-album-review\/"},"modified":"2025-03-29T06:37:56","modified_gmt":"2025-03-29T06:37:56","slug":"rewrite-this-title-in-arabic-deafheaven-bring-back-the-heaviness-on-lonely-people-with-power-album-review","status":"publish","type":"post","link":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-deafheaven-bring-back-the-heaviness-on-lonely-people-with-power-album-review\/","title":{"rendered":"rewrite this title in Arabic Deafheaven bring back the heaviness on Lonely People with Power \u2014 album review"},"content":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Deafheaven play a form of music dubbed \u201cblackgaze\u201d due to its mix of black metal and shoegaze (\u201cshoe metal\u201d evidently didn\u2019t have quite the right ring to it). The San Francisco band have acquired a cult following since forming in 2010, although they ruffled feathers with their last album, 2021\u2019s Infinite Granite.It removed the black metal elements from their sound and dialled up the shoegaze. Blast beats \u2014 the rapid-fire drumming that courses through extreme metal music with exacting precision and unhinged aggression \u2014 were replaced by straightforward rock rhythms. Frontman George Clarke swapped demonic shrieks for hazy indie singing. Guitars jangled rather than roared. The production was brighter and cleaner than previously. Although it shares the same producer, Justin Meldal-Johnsen, Lonely People with Power brings back the heaviness. The album\u2019s title refers to powerful individuals who make it to the top by shedding feelings of identification with the rest of humanity. It also evokes Clarke\u2019s hermetic performance at the microphone, unleashing guttural shrieks and screams in a way that is both impressive and incomprehensible. His voice is mixed into the sonic maelstrom so as to be at one with it.The results make better sense if we treat Deafheaven as an instrumental band for whom vocals are the same as guitar and drums. Indeed, when Clarke does a spot of actual singing on \u201cHeathen\u201d amid a glance back at the alt-rock of Infinite Granite, he sounds intelligible but insipid. The song picks up when he reverts to his screamed mode, flaying words until they are stripped of coherence.Other vocalists guest on three interlude tracks, the best being \u201cIncidental II\u201d with Jae Matthews, a gothic exercise in dread. Amid Daniel Tracy\u2019s high-speed drumming and blistering riffs from guitarists Kerry McCoy and Shiv Mehra, small details stand out. \u201cMagnolia\u201d has heads-down black metal riffage, but also a passage of chiming guitars that would not be out of place in a Siouxsie and the Banshees song. \u201cRevelator\u201d uses deftly worked switches in pace like punctuation points in a forbidding message conveyed at maximum volume.\u2605\u2605\u2605\u2605\u2606\u2018Lonely People with Power\u2019 is released by Roadrunner Records<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Deafheaven play a form of music dubbed \u201cblackgaze\u201d due to its mix of black metal and shoegaze (\u201cshoe metal\u201d evidently didn\u2019t have quite the right ring<\/p>\n","protected":false},"author":1,"featured_media":256558,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-256557","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/256557","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=256557"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/256557\/revisions"}],"predecessor-version":[{"id":256559,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/256557\/revisions\/256559"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/256558"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=256557"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=256557"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=256557"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}