Noise Pop 25 presents
Noise Pop 25 presents
This Will Destroy You
This event is 21 and over
$24.00 – General Admission (Advance)
$26.00 – General Admission (Door)
*plus applicable service fees
The general on sale begins Friday, January 13th at 10am!
Tickets available at The Independent box office (628 Divisadero, SF) with no service charge.
As 2012 came to a close, George Clarke and Kerry McCoy were living off of food stamps in a small apartment in the Mission District of San Francisco with six other roommates. They slept in closets and partitioned corners, licking their wounds after a year of touring with their band Deafheaven. While their debut album Roads To Judah was met with high praise, there wasn’t a large audience for their signature hybrid of black metal, shoegaze, and post-rock. Consequently, the band amassed a mountain of debt on the road and lost 3/5ths of their members to the financial security of full-time employment. In the rare moments of solitude within those cramped quarters of the Mission apartment, Clarke and McCoy began piecing together musical fragments that would become their sophomore album Sunbather, an album thematically fixated on the un-punk dream of climbing out of poverty and living among the leisure class. Despite the underground’s aversion to such open pining for comfort, stability, and luxury, Sunbather was a massive critical success and an unexpected crossover hit. With their new bandmates Dan Tracy (drums), Stephen Lee Clark (bass), and Shiv Mehra (guitar), Deafheaven began selling out clubs and landing high profile festival slots across North America, Europe, Australia, and Asia. No one could have anticipated a band that drew from equal parts Weakling and My Bloody Valentine ascending to such heights, and that incomprehensibility added to the band’s singularity and allure.
Two years later, George Clarke and Kerry McCoy were living in their own apartments in LA. They no longer had to worry about where their next meal was coming from, and they could begin working on their new album, New Bermuda, in a proper rehearsal space as a full band. In many ways, it was an ideal scenario, but doubts lingered in the back of Clarke’s mind. “Sunbather yearned for something better. New Bermuda focuses on the idea of false promise, achieving something and wondering if it’s what you really wanted in the first place. Moving to LA, living with the person you love, meeting new people—you’re inexplicably let down by the situation, or let down by your own perception of it because you thought it was everything you wanted, but yet you still feel displaced.” McCoy shares that sentiment: “Sunbather sounds like people who have nothing but are satisfied with life. There’s an uplifting quality to it. But New Bermuda is a very tense record.”
Some of the most joyous music in history came from the most impoverished and oppressed societies. Meanwhile, some of the most nihilistic art has come out of countries of affluence and security. Music has always been a salve, an anodyne. But it’s also an outlet, a reminder of the ugliness lingering in the shadows of a sterilized world. Ultimately, art is a counterweight, and Deafheaven reinforces this principle by making the most punishing music of their career in the wake of their greatest success.