Deftones: Ohms Album Review: Paste Magazine
“A lot of metal bands are too lousy to act like pussies, but we’re not afraid to really express ourselves,” Deftones guitarist Stephen Carpenter said. Guitar world‘s Jen Wiederhorn in 1997. The band was in the process of recording their second album, at the time untitled but eventually named Around the fur, and they were on top refining their style and vocals after the release of their debut album, Adrenaline. The latter is a relatively rough version next to the former, raw energy and wit needing sanding around the edges, but no less convincing for the abandoned animal rabies captured on its 10 tracks (11, counting the hidden track). , “Fist”).
Twenty-three years later, this philosophy remains at the heart of Deftones’s character as one of the few mid-90s nu-metal bands to stick around long enough to mature in medieval metal. here is Ohm, album number nine, which is sort of a statement on Carpenter’s words from two decades ago and changes: the band is still comfortable being “pussy” when necessary, but Ohm mainly works alongside Carpenter in the Deftones equation. The emotional, breathing and serene component of their sound is the domain of singer Chino Moreno. Deep, buzzing guitar work is part of Carpenter’s realm. Deftones’s music marries the melodic vocals of Moreno with the cruel jazz of Carpenter’s seven-string ESP. Ohm modifies this union by putting more emphasis on the metal roots of the band.
For the crowd listening to Moreno’s romantic and atmospheric voice, it might not be Ohm‘best selling point. But the heavy is subjective, and Ohm doesn’t entirely reject romance: tracks like “Urantia” represent the balance Deftones achieves on their most accomplished albums, especially the 2000s White pony, to this day the unrivaled chapter of their legendary discography. Moreno becomes completely ethereal here, conjuring up steaming semi-erotic imagery from the start. Through its leader filter, the recovery of an unfinished cigarette in an ashtray becomes surprisingly sexy, a scene in “pinkish red” tones. The song is both wild yet sultry, a bit of fiery poetry about two lovers slowly unraveling in the absence of the other, which satisfies the itch that Deftones’s sweet demographic audience needs his music to scratch. .
The contrast of “Urantia” with the opening of the record, “Genesis”, as well as “Ceremony”, “Error” and “This Link is Dead” is subtle but undeniable. Each track, regardless of its tendency to Moreno’s influence on the Deftones style, makes room for Carpenter and, to a lesser extent, keyboardist Frank Delgado, whose synth sounds shape Ohm more fit once Carpenter’s riffs, palm mutes, and distortions have taken hold first. The mosquito moans Ohm begins in “Genesis” involves an album tailored for Moreno more than Carpenter; it is the setup that makes it difficult for overwhelming guitar strings to arrive and gives each note an individual weight. “The Spell of Mathematics” advances this relationship with increased gravity. Delgado holds a sharp line above Carpenter and Moreno, almost as if he is challenging them both: “Be stronger. Drown me. I dare you.”
They do, although Delgado is an earworm for the rest of the song and the rest of the album. His electronic effects push his peers towards realizing their strengths as individuals in a collective, but Carpenter is always ahead of the rest. This is his album. Ohm does not lack harmony. These elements that make Deftones Deftones have their role in defining the album, but Carpenter simply defines Ohm with more authority, recalling Adrenalineis troubled by anxiety White ponyheavenly peaks. Arguably, Ohm is at first glance nothing new for Deftones. What is that is is a captivating refinement of what they have become over years of risk-taking and experimentation.
Bostonian cultural journalist Andy Crump covers movies, beer, music, and being a dad for far too many outlets, maybe even yours. He helped Dough since 2013. You can follow it on Twitter and find his work collected on his personal blog. It is made from around 65% craft beer.