Deftones - "White Pony" | ALBUM REVIEW

Nu metal never had too much in the way of artistic integrity. Coal Chamber played two chords and did their best to be perceived as spooky. Mushroomhead dressed up like a poor-man's Slipknot and tried to sound like the far-superior Faith No More. P.O.D. combined hip hop, metal but infused it with Christian preachings. The music originally written for venting built-up emotions and expressing oneself in a culture where it was looked down upon had morphed itself into everything it initially set out to destroy. The jock culture of high school America. They ate up Limp Bizkit and Mudvayne, each band sold millions of records in the process. They wanted their happy-meal-metal, and bands and labels delivered in spades.
However, this era of metal did produce some quality bands. Korn had a few great records, as did Slipknot and System Of A Down, the godfathers of the genre Faith No More (less an integral part of it, more an influence) put out some phenomenal records in their career. But for me one band stands up above them all: Deftones

For me, Deftones aren't a nu-metal band. They got lumped into a scene due only to timing. Not unlike Radiohead being placed in a world of Britpop despite delivering so much more depth than any of their peers. Their debut is the closest they came: it was bouncy, power-chord riffs and borderline rapping were to be found across the album. But they didn't stick with that sound for long....

Around The Fur is in my opinion the band's first fantastic record. It still had the bouncy riff-o-rama of Adrenaline but certainly displayed where the band would go in the future. Atmosphere brought itself to the front-line through the use of synthesizers (not always accepted in that era). Songs like Dai The Flu and MX are borderline post-rock at times, however their collaboration with Max Cavalera is totally a song of it's time. But on White Pony -  everything changed.

Opening track Feiticeira kicks this record off in unstoppable fashion. They're post-hardcore influence really comes through on this particular track, a refreshing addition to the bands sound. At this point in the listening experience, you may be intrigued but far from blown-away (that was my initial reaction). Don't worry, just prepare yourself to the pure genius of Digital Bath. The trip-hop stylings are in full-swing on this song which I can imagine would appeal to fans of perhaps more experimental genres of music. Lyrically it's obscure, instrumentation is unusual and the production is slightly off-kilter - but the track couldn't feel more perfect.
Elite is a throw back to Deftones' earlier music, distorting Chino's voice definitely adds to the vintage factor. The spite and vigor in this track can't be overestimated but it's still outwardly appealing in my opinion as well as the Grammy's. A fan favourite and for good reason.
RX Queen is one of Deftones' most quintessential songs of this band's carnation. Lyrically it explores terminal diseases as well as relationships (almost as though they predicted the success of The Fault In Our Stars) but Chino approaches these topics with such emotional weight every word hits home.

As the record goes on it changes in more ways than you can possibly imagine. Teenager explores Chino's trip hop/pop/experimental influences whereas a song like Korea or Knife Party goes down Stephen's path of Rage Against The Machine and Pantera. Both examples are still unmistakably Deftones. The stylistic tug of war this band creates means they write the most interesting and unusual songs you can find in the last 20 years of metal and rock. Were one member to get their way their music would not have the impact it does. Passenger (critic's choice track on this record) has a guest appearance of Maynard James Keenan (vocalist of my favourite band Tool) and his call-and-response routine with Chino Moreno is utterly perfect. Change (In The House Of Flies) is one of the greatest songs ever composed - in my humble opinion - and hearing 60,000 people sing along to it last year at Reading Festival was a moment to savour. Hidden track Pink Maggit is a personal favourite, far more atmospheric and emotional than it's deformed twin Back To School.

Production wise, Terry Date doesn't disappoint. His work on Pantera's A Vulgar Display Of Power among other records by Bring Me The Horizon and (soon) Slayer has given him credentials other producers would strive for. It's perfectly mixed and produced and is certainly Terry's magnum opus.

This record is, if nothing else, a reason to love Deftones. This record has a particular emotional attachment for me personally (I listened to it while in Alaska, one of the most euphoric experiences of my life and now this record is part of that). It's everything I want in music in a 48 minute experience and it couldn't be improved. Listen to this album. You won't regret it.