With Gore, Deftones have added extra melody to their signature sound. But unfortunately, they end up pushing the aggressive edge they’re known for to the backburner.
The rumors that were swirling around earlier in the year of Stephan Carpenter (lead guitar) and Chino Moreno (lead vocals), not seeing eye to eye in the studio is totally comprehendible now. Carpenter being more heavy metal inclined wanted to make the record a lot heavier than it turned out to be. Apparently, Chino was on an inspired Morrissey kick throughout the creation of this album, which you can definitely hear in songs like “Geometric Headdress,” “Pittura Infamante,” and the very commercial friendly “Xenon”.
This is not saying that those songs are weak links in this album. They are actually what make this album special and different from their previous efforts. They’re displaying some very strong songwriting skills and some new range they’ve not shown in the past. The hooks on “Prayers/Triangles,” “Hearts/Wires,” and “Xenon” are infectious and ready for the mainstream because of that haunting voice of Mr. Moreno which is, of course is being used to its full potential on this record. The use of digital sound (keyboard and samples) in the band, provided by Frank Delgado, has increased since White Pony– but it finally feels that they have successfully figured out how to meld it naturally into the music like in “Acid Hologram” and “Xenon”. Stephan Carpenter (guitars) and Abe Cunningham (drums), along with Sergio Vega (bass) are solid gold as usual.
Deftones have always known how to close out an album, and this one is no different. The track “(L)mirl” acts as the perfect bridge from the more melodic side of the album to the more agro side of this record. The best song on the album is the the title track “Gore”. The most aggressive and most rockin’ song on this album, this track reminds you that you’re still listening to the fuckin’ Deftones. The ender tracks of the album “Phantom Bride” and “Rubicon” are haunting and will stay with you long after the album is done.
To think that Deftones have been around for a little over 20 years now and they’re still putting out this kind of quality music speaks volumes for the talent in the band and the untapped potential in the group.
I’m still waiting for the release of Eros, though. //Arturo Padilla
This is not saying that those songs are weak links in this album. They are actually what make this album special and different from their previous efforts. They’re displaying some very strong songwriting skills and some new range they’ve not shown in the past. The hooks on “Prayers/Triangles,” “Hearts/Wires,” and “Xenon” are infectious and ready for the mainstream because of that haunting voice of Mr. Moreno which is, of course is being used to its full potential on this record. The use of digital sound (keyboard and samples) in the band, provided by Frank Delgado, has increased since White Pony– but it finally feels that they have successfully figured out how to meld it naturally into the music like in “Acid Hologram” and “Xenon”. Stephan Carpenter (guitars) and Abe Cunningham (drums), along with Sergio Vega (bass) are solid gold as usual.
Deftones have always known how to close out an album, and this one is no different. The track “(L)mirl” acts as the perfect bridge from the more melodic side of the album to the more agro side of this record. The best song on the album is the the title track “Gore”. The most aggressive and most rockin’ song on this album, this track reminds you that you’re still listening to the fuckin’ Deftones. The ender tracks of the album “Phantom Bride” and “Rubicon” are haunting and will stay with you long after the album is done.
To think that Deftones have been around for a little over 20 years now and they’re still putting out this kind of quality music speaks volumes for the talent in the band and the untapped potential in the group.
I’m still waiting for the release of Eros, though. //Arturo Padilla