The Deftones managed to pull off what they were heading toward in their self-titled album, which was deeply iffy back in 2003. Going from Around The Fur and White Pony to the likes of “Good Morning Beautiful” or “Lucky You” was jarring. Even promising tracks like “Minerva” felt unpolished and off-brand. “When Girls Telephone Boys” had the right energy but wasn’t exactly an easy recommendation for new listeners. It’s the kind of song where you think you know the lyrics, and then you read what they’re supposed to be, and you understand even less than you did before.
Saturday Night Wrist captured more of the frisson from their earlier work. “Cherry Waves” and “Kimdracula” in particular. But it’s considerably more relaxed than anything previous. Even seemingly frenetic tracks like “Combat” feel halfway to pop. Diamond Eyes has more of the vibe but less of the polish. It does let parts of each song stand out more. “Command / Control” and “You’ve Seen The Butcher” aren’t great songs, but they understood what was good about them, and let it come to the fore. “Risk” is solid.
They finally nailed it for Koi No Yokan. The first song is so-so - as is tradition - but beyond that it’s just A+ material. Spacious, detailed, bombastic, and like little else. The classic vitriol comes out in “Leathers.” The gentle new stuff becomes “Entombed.” The dreamy frisson evolves into “Rosemary.” It’s unambiguously a fantastic album.
No idea what the fuck happened on Gore. They had it and they lost it. The first track is one of their best songs ever, and then it’s half an hour of ehhh. The album only picks up for some transitions on either side of “Phantom Bride.” For about two non-consecutive minutes, Sergio Vega and Stephen Carpenter get to flex, and then it closes with a track that just leaves you wanting.
Ohms veers back toward the right idea. It’s a lot more 90s than even their self-titled album, between the opening track and the middle run of “The Spell Of Mathematics” through “This Link Is Dead.” Tracks like “Error” are novel, and modern, and clean. Holy shit, the things this band has done to clarify and distinguish all the work they put in. I can’t even listen to 80s wall-of-sound sludge anymore. Better to convey the world’s loudest guitar than a whole orchestra constantly going hard.
But now I want to check back in after another twenty years, because they pissed off the bassist they’ve had since Diamond Eyes. I have no fucking idea what they’re going to sound like next. I might be more interested in whatever that guy does without them.
This reads a bit like a diatribe of Patrick Bateman on music. In a good way I might add, I’m curious after the Deftones, and I’ve only seen them in a festival in the early noughties.
Well, not to repeat myself, but Koi No Yokan is really really good, and there’s a reason millennials cannot shut up about Around The Fur and White Pony.
The Deftones managed to pull off what they were heading toward in their self-titled album, which was deeply iffy back in 2003. Going from Around The Fur and White Pony to the likes of “Good Morning Beautiful” or “Lucky You” was jarring. Even promising tracks like “Minerva” felt unpolished and off-brand. “When Girls Telephone Boys” had the right energy but wasn’t exactly an easy recommendation for new listeners. It’s the kind of song where you think you know the lyrics, and then you read what they’re supposed to be, and you understand even less than you did before.
Saturday Night Wrist captured more of the frisson from their earlier work. “Cherry Waves” and “Kimdracula” in particular. But it’s considerably more relaxed than anything previous. Even seemingly frenetic tracks like “Combat” feel halfway to pop. Diamond Eyes has more of the vibe but less of the polish. It does let parts of each song stand out more. “Command / Control” and “You’ve Seen The Butcher” aren’t great songs, but they understood what was good about them, and let it come to the fore. “Risk” is solid.
They finally nailed it for Koi No Yokan. The first song is so-so - as is tradition - but beyond that it’s just A+ material. Spacious, detailed, bombastic, and like little else. The classic vitriol comes out in “Leathers.” The gentle new stuff becomes “Entombed.” The dreamy frisson evolves into “Rosemary.” It’s unambiguously a fantastic album.
No idea what the fuck happened on Gore. They had it and they lost it. The first track is one of their best songs ever, and then it’s half an hour of ehhh. The album only picks up for some transitions on either side of “Phantom Bride.” For about two non-consecutive minutes, Sergio Vega and Stephen Carpenter get to flex, and then it closes with a track that just leaves you wanting.
Ohms veers back toward the right idea. It’s a lot more 90s than even their self-titled album, between the opening track and the middle run of “The Spell Of Mathematics” through “This Link Is Dead.” Tracks like “Error” are novel, and modern, and clean. Holy shit, the things this band has done to clarify and distinguish all the work they put in. I can’t even listen to 80s wall-of-sound sludge anymore. Better to convey the world’s loudest guitar than a whole orchestra constantly going hard.
But now I want to check back in after another twenty years, because they pissed off the bassist they’ve had since Diamond Eyes. I have no fucking idea what they’re going to sound like next. I might be more interested in whatever that guy does without them.
This reads a bit like a diatribe of Patrick Bateman on music. In a good way I might add, I’m curious after the Deftones, and I’ve only seen them in a festival in the early noughties.
Well, not to repeat myself, but Koi No Yokan is really really good, and there’s a reason millennials cannot shut up about Around The Fur and White Pony.