New Bermuda by Deafheaven
[I]n listening, what I keep returning to is Clarke’s voice. I can’t even tell if I like it or not. In the context of the death metal tradition, it is staid. As an instrument, it is used almost purely to unsettle; no other tone is explored. On one hand, I’d like to see more range; a scream is louder and more impressive if it’s compared to a whisper. But coming from other noisy genres — or approaching Deafheaven from shoegaze, post-punk, or their other influences — there’s something perverse and intriguing about insisting on no clean vocals.