Album Review: Deafheaven – At Work In The Fields Of The Bomb EP (opens in new tab)
Throughout their oeuvre, finding the perfect paradox has been Deafheaven’s driving impulse.
Shoegaze is guitar music turned into weather. Guitars run through stacks of effects pedals until the chords blur into one huge, shimmering wall, and the vocals sit inside that wall rather than on top of it, sweet and half heard. It can be deafening and tender at the same time, which is the whole point.
It came together in England in the late 1980s and early 1990s, built on the feedback-and-melody template of The Jesus and Mary Chain. The name started as a jab from the British music press at bands who stared at the floor on stage, mostly because they were watching their pedals. By the mid 1990s, Britpop and grunge had pushed it aside.
It never really went away. American bands picked it up in the 1990s, a new wave arrived in the 2010s, and younger listeners keep discovering it now. The appeal is simple: it is loud music you can get completely lost in.
The Jesus and Mary Chain: The blueprint: sweet, sixties-style pop melodies buried under shrieking feedback, a trick nearly every shoegaze band went on to borrow.
My Bloody Valentine: Kevin Shields worked the tremolo arm while strumming, so whole chords warp and swim; listen for how the voices melt into the guitars.
Slowdive: Reading band at the pretty, drifting end of the sound, who reunited nearly two decades later and made records as strong as their early ones.
Ride: Oxford four-piece who paired the wall of noise with busy, thrilling drumming and bright two-part harmonies with a sixties streak.
Lush: London band built around Miki Berenyi and Emma Anderson, whose interlocking guitars and cool, close harmonies made the noise feel weightless.
Chapterhouse: Reading band who folded dance rhythms and a looser groove into the haze.
Pale Saints: Leeds band on 4AD whose songs keep changing shape, sliding from delicate, almost folky passages into squalls of distortion.
Swervedriver: The rock and roll end of shoegaze: Oxford band with songs about cars and open roads, big riffs and a heavier swing.
Catherine Wheel: Norfolk band fronted by Rob Dickinson who gave the sound a big, anthemic rock frame and long, dramatic guitar builds.
Hum: Illinois band who bolted huge, heavy guitar tone onto soaring melodies and lyrics full of stars and science.
Nothing: Philadelphia band with hardcore roots who made the genre heavier and bleaker in the 2010s and helped drive its revival.
DIIV: Brooklyn band whose early records were fast and chiming, and whose later ones went darker, heavier and fully shoegaze.
My Bloody Valentine, Loveless (1991)
The shoegaze benchmark, bending and melting in all directions. Play it loud, all the way through.
Gorgeous, slow-motion heartbreak, with textures so soft they barely sound like guitars.
A debut that crashes like surf; the drumming alone makes it worth hearing.
The Jesus and Mary Chain, Psychocandy (1985)
Where the idea started: bubblegum melodies pushed through a wall of screaming feedback.
Produced by Robin Guthrie of Cocteau Twins: shimmering, sweet and quietly odd.
Swervedriver, Mezcal Head (1993)
Driving riffs and cinematic noise, for friends who think shoegaze is too soft.
Hum, You'd Prefer an Astronaut (1995)
Crushing guitar tone and huge melodies; 'Stars' is the obvious way in.
Nothing, Guilty of Everything (2014)
The sound of the modern revival: heavier, sadder and louder than the originals.













Last 30 days · via public radio playlists
| Rank | Album | Stations | Days on chart | Spins |
|---|---|---|---|---|
| 1 | KCRW, KEXP, KRCL, The Current | 2 | 6 spins | |
| 2 | KCRW, KEXP, WXPN | 1 | 3 spins | |
| 3 | KEXP, The Current | 1 | 4 spins |
Throughout their oeuvre, finding the perfect paradox has been Deafheaven’s driving impulse.
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