“The Connection” – May 2005 // Chino Interviewed

Deftones singer plans new albums
By Angela Rosas

Right after their October 2004 tour, Sacramento's own Deftones jumped from the stage 
straight into the studio to begin working on their fifth, full length album due to 
release this summer.

It has been two years since their self-titled "Deftones," was released; a worthy cause 
but not a huge success. Now the Deftones are giving it another shot. They are going 
into the studio prepared, energized, fresh off tour and ready to capture their listeners 
with a variety of new sounds. 

"We spent a lot of time on our last record, but it wasn't all work all the time. 
We would take a lot of time off," said Chino Moreno, Deftones lead singer. "This one 
has been pretty constant. I think we are really dissecting our songs and trying to 
write a little more technical, meaning the song structures and the way we are 
approaching our songs."

"With the 'White Pony' album, me and Stephen Carpenter (Deftones guitarist) were butting 
heads a lot and it caused a lot of tension. But I think it made for a good album, we 
were trying to top each other the whole time. Our mistake with the last album was I 
made such a point to not have any conflict with anybody in the band. So our communication 
wasn't strong cause we were avoiding conflict," Moreno said.

"We are on the same page right now with what we want to do. We are making something 
interesting, not just making a record for the sake of making a record," Moreno said. 
"We all want to make something that 10 years from now people will still want to listen to." 

Bob Ezner, Deftones new producer, is much more hands on than their previous producer 
Terry Date. Ezner, who has been producing since the 70s, has had a lot of experience 
with the technicalities of writing songs and has been working with Deftones on song 
structures, something not brought up during past album recordings. 

"We never really had any outside opinion, besides the band. This way it will be opened up 
a little bit and we have another opinion," Moreno said. "Which sometimes is good and 
sometimes it sucks." 

Besides a change in song structure expect to hear a variety of new sounds. The Deftones 
are including key boards, jazz piano and some electronic mixes to their music. "We're 
adding elements of sound that we've always been into but never really took the time to 
work into our music," Moreno said. 

Look forward to the new Deftones release to be a thinking album, nothing about this is 
novelty. Its theme so far, according to Moreno, is loneliness. 

"I want to make a record were there is not one second of it that is just there to be 
there, I want every single moment of it to be interesting. And that is the most time 
consuming thing," Moreno said.

Deftones release date for their upcoming album is to be announced. 

www.deftonesworld.com

“MTV.com” – May 2005 // Chino Interviewed

www.deftonesworld.com

Deftones Blame Connecticut For Album Delay, Cover Skynyrd 
05.31.2005 6:03 AM EDT 

Hardcore poet Moreno and his heavyweight Deftones spent the winter in Stamford, Connecticut, with producer Bob Ezrin (Pink Floyd, Jane's Addiction). It was there — at Ezrin's studio and abode, the Carriage House — that the band recorded some of the material that will eventually make the final cut on its fifth album. 
But something was off with the Deftones while they languished in the bleak, wintry abyss in the richest per-capita state in the union. 
"It sucked, dude," Moreno said. "It was the most depressing thing ever. The recording was good, and we got it done really fast. It was mostly to get all of Abe [Cunningham]'s drum tracks down, and we did some overdubs there, too. But it suuuuucked." 
The Deftones started writing material in their Sacramento, California, hometown a little more than a year and a half ago, then took the fall off to allow Moreno time to work with his side project, Team Sleep. They regrouped in the relative tundra of the East Coast, but longed for warmer climes the whole time, according to Moreno. So the band packed its bags, bid Connecticut adieu and headed home just before Christmas. 
"We ended up recording a bunch more songs, and we kind of compiled those with the Connecticut stuff," he said. The band revisited some of the Ezrin material and tweaked it a bit, delaying the final product ... well, a bit. "It's just like this roller coaster of sounds. There's really aggressive stuff — super-aggressive stuff — that, like, I don't think we've delved into evil sh-- like this before. And then there's really sad stuff. I don't know — it's a Deftones record. We're trying different things. Frank [Delgado, who handles keyboards and samples] is involved a lot more this time, as far as electronic stuff, and there's a lot more beat stuff going on. 
"It's a pretty chaotic record," he continued. "Every time we make a Deftones record, it's taxing on your brain and body. They're hard records to make because you seriously have to outdo yourself. We want to outdo ourselves when we make a record; we don't want to make the same record twice. And we don't really have any formulas we use, so we just try different sh--. And sometimes good sh-- happens, sometimes weird sh-- happens." 
The album — which will drop sometime in the fall and be followed by a tour — has not yet been named, Moreno says, although he's been flirting with Saturday Night Wrist. There still aren't any song titles pinned down, either. "That's like my favorite part to do, naming the songs after they're already kind of done," he said. "I have just a couple more weeks of work on it." 
Moreno has recorded some vocal tracks, but not all of them; touring with Team Sleep — which he'll be doing until late August — has put that process on hold. When he resumes work with the Deftones this fall, the rest of Team Sleep will hit the studio again to start working on their sophomore offering. They've already written 15 songs for the release, which will be out in late 2006. Moreno also said former Smashing Pumpkins guitarist James Iha has signed to work with Team Sleep on some of their new tunes. 
Deftones fans who cannot wait for their new album will take solace in the fact that the band is planning an album of rarities, B-sides and covers later this summer. The compilation will feature the band's take on the Smiths' "Please Please Please, Let Me Get What I Want," which has been available online for years, and a song by Lynyrd Skynyrd, the Southern rockers behind "Free Bird." 
"It's stuff that we recorded over the years that a lot of people haven't heard," Moreno said. "Like, when I was 16, we did this version of 'Simple Man' by Lynyrd Skynyrd. I heard it the other day, and it was good. ... We remixed everything, and it's actually a pretty good record. I think it matches up to our last record, or even our new record, as far as the quality of it." 
The comp also includes a Jawbox cover and a DVD of footage "since we started, when we were little kids jumping around," he said. 
The album will commemorate the 10th anniversary of the first Deftones album, Adrenaline. "I grew up listening to all these songs [we covered], so I can hear myself in those songs," Moreno said. "I used to stand in my backyard with a broomstick, pretending like I was Morrissey." 
The Deftones will seek a little help from their fans for the rarities disc and companion DVD. On the band's Web site, it's asking anyone who has taken live photos of the group to submit them for consideration as part of the artwork and packaging. 
— Chris Harris
MTV.com

“Igetconnected” – January 2005 // Chi and Frank Interviewed

DEFTONES Interviewd bt igetconnected

January 2005

The music of the Deftones appeals to many tribes: metalheads, rock fans, and 
indie geeks alike. We hired a spy to follow them in the studio to film them 
recording their new album, but the clever group spotted our operative’s hidden 
camera. Luckily, they agreed to embrace technology and give us a peek into their 
world with video footage taken with their trusty Nokia 6230 phones. We also had 
a brief chat with Deftones bassist Chi Cheng and turntablist Frank Delgado on the 
experiences of making their new record -- look for it later this summer -- and 
learned that not only are they great at rocking and screaming, but they can be 
grade-A smart-alecks too!

Get Connected: What can a listener expect to hear on the new record? Is there 
anything on the new record that you think will surprise long-time listeners? 

Frank: Good ol' Deftones mixed bag of tricks. 

Chi: The Hall & Oates guest appearance.

GC: You’re working with Bob Ezrin, who produced amazing classic albums with Kiss, 
Pink Floyd, Alice Cooper and Lou Reed. What is it like working with such an esteemed 
producer? 

Frank: Working with Bob has been a great experience. We feel honored and are happy 
to have him involved with this record. 

Chi: It’s nice to push around such an esteemed producer. Don’t forget [that] he did 
Air Supply, too. 

GC: He is definitely of the old guard. Is it different working with such a venerable 
personality? 

Frank: It’s always different when working with someone else, whether it’s other 
musicians, producers etc. The beauty of it is seeing how others work and learning 
from it. 

GC: You’ve recorded all your albums so far with Terry Date. What made you decide to 
go with Ezrin this time? 

Frank: We had all decided to work with someone new for this record. After meeting 
with a list of producers, we chose Bob. We just clicked and all had the same vision 
of what we wanted to accomplish. 

Chi: Age.

GC: I’ve read that a lot of the new record was written in Malibu, which seems an odd 
setting as it contrasts so much with your music. How did this setting affect your writing? 

Frank: I think living together and being able to write when we wanted was more or 
less the setting we were going for. 

Chi: It's now surf rock.

GC: Has the conception of this album been difficult or relatively easy? Please 
describe its gestation. 

Frank: Making records has never really been an easy process for us. We’ve never been 
one of those bands that write 30 songs and pick the best 10,11 tracks to use. We 
tend to edit ourselves along the way [and] usually only end up with a little over 
an album's worth of material. In turn making things longer and harder on ourselves. 

Chi: Typical Deftones pain-in-the-ass album.

GC: How was the band's headspace going into this record as opposed to the last? 

Frank: Living together during the writing of this record created the perfect headspace. 

Chi: A lot more sober. Glimpses of sobriety.

GC: You have just finished a mini-tour. Did you test out some of the new songs on 
the road? 

Frank: We actually never played any new songs. Shucking and jiving the bootleggers 
is hard work. Ha! 

Chi: We played no new songs ‘cause we suck.

GC: I’ve read that your musical tastes don’t necessarily reflect the music you play. 
Can you name some artists that you love, that you think your fans should know about? 

Frank: PRINCE 

Chi: Bryan Adams and Mark Curry.

GC: You just went to Mexico City to play a show. What inclined you to put recording 
on hold for the moment to go down and play? 

Frank: We haven’t played in Mexico as much as we would like to, so any opportunity 
is a good one. 

Chi: We Love Mexico City. 

GC: Judging by the footage shot, it looks like you played to a huge amount of kids 
in Mexico. Do you prefer playing a huge show like that, or smaller club shows like 
on your most recent tour?

Frank: We like being able to mix it up. Big, small doesn’t matter. As long as it 
rocks. 

Chi: We like them both.

www.deftonesworld.com

“Rolling Stone” – January 2005 // Abe Interviewed

 

ROLLING STONE - January 2005

Deftones Go Upside Down

California rockers exploring new sounds with Ezrin 

To break down musical walls, the Deftones have joined forces with the man who 
helped build the most famous one of all. And Deftones drummer Abe Cunningham 
says working with legendary producer Bob Ezrin -- whose credit list includes the 
Pink Floyd opus The Wall -- has been exactly the spark the veteran Sacramento 
hard-rock band needed. 
"At this point, we just needed to change things up," says Cunningham from his 
California home during a holiday break in recording. "And this is definitely a 
different style. Working with him is just putting us fucking upside down. He's 
cracking the whip."

The Deftones' first four albums were produced by Terry Date, whom the band idolized 
because of his work with Pantera.

"We love him with all our heart, and I would do another record with Terry in a 
hot second," Cunningham says, "but this is just what we needed now. Bob has made 
some amazing records -- Pink Floyd is one of my all-time favorite groups -- and 
he's worked with such a wide variety of people."

The band chose the more hands-on Ezrin -- who's also overseen albums by Lou Reed, 
Alice Cooper and Kiss -- after considering several other producers, and entered 
Ezrin's Connecticut studio last November, following a five-week club tour that 
Cunningham says was "basically an excuse to get from California to Connecticut."

A dozen songs for the untitled album have already been tracked, and Cunningham says 
the band hopes to write at least a couple more.

As for what the new material sounds like, fans have seized on a description vocalist 
Chino Moreno gave last fall, calling the band's current approach "more Rush than Tool." 
Especially considering Ezrin's skills as a musician and arranger, some took that to 
mean the new album will have more in common with the Deftones' 2000 breakthrough White 
Pony, with its ambitious art-rock tendencies, than the more back-to-basics, 
self-titled 2003 follow-up.

"I hadn't heard that Chino said that . . . but yeah, I think it could be more like 
White Pony," says Cunningham. "It's hard to answer that when you're up inside of it. 
It's kind of an amoeba right now . . . [but] there's some fairly complicated stuff. 
There's this one song that has, like, five different tempo changes."

What has definitely changed, Cunningham says, is the atmosphere surrounding the band. 
The making of The Deftones was "a whole period we just call 'the dark days' now," he 
says. "During that time, there were two divorces. We were real burnt-out, not 
communicating that much. Things were just really fucked up."

Cunningham says it's possible he may turn up on a track or two of the long-awaited 
album from Moreno's side project, Team Sleep. That disc is slated for a May release, 
and if things go according to plan, Cunningham adds, a new Deftones album shouldn't 
be far behind.

"We'll have new flowers blossoming, new birds chirping and all that shit," he says 
with a laugh, "and, hopefully, new Deftones music too."

www.deftonesworld.com

“Edge 103.9” – October 2004 // Abe and Chino Interviewed

 

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“Review-Journal” – October 2004 // Abe Interviewed

www.deftonesworld.com

"Testing Their Metal"
By DOUG ELFMAN 
REVIEW-JOURNAL 

The Deftones are practically the root of contemporary metal, and the band isn't 
afraid to try new things. The Deftones' next metal album will be "brainy," "harsh" 
and "pretty," band members say.

Metal music is the new punk rock. Punk music itself has been co-opted by corporations. 
So has metal. But at least metal doesn't get played on adult-pop stations the way 
pop-punk does. 

If a parent walked into a kid's room and heard a pop-punk band, that parent might 
actually relate to the kid. But how many parents walk into a kid's room, hear a 
screaming Deftones song and are happy about it? 

"That's right," Deftones drummer Abe Cunningham says. "I think that's cool. It's 
almost (normal) to see a kid with different colored, six-foot spikes (in their 
hair). No one ever blinks an eye. But maybe we're more dangerous." 

New metal is inspired by what punk used to be, too. Cunningham and his bandmates 
grew up on classic anti-establishment punk. 

"We grew up on a lot of those bands and that ethic. For the longest time, we did 
it ourselves. I guess that all stopped when we signed on the dotted line, which 
has been really good, but it also is the worst decision we've ever done," he says. 

Cunningham dubs the current form of pop-punk "Hot Topic punk" after the mall store 
that sells black clothes and stickers. If listeners prefer that type of music, 
"more power to them, but at the same time, it's good to know the roots of things," 
he says. 

The Deftones have been around so long -- 16 years -- the band is almost the root 
of contemporary metal. The Sacramento, Calif., band was basically underground until 
its dotted-line, major-label debut, "Around the Fur," came out in 1997. At that 
time, the band's hard-pounding sound and singer Chino Moreno's hoarse, full-on 
screaming appealed to people who didn't just slam dance but bloodied each other in 
mosh pits. 

In 2000, though, the band's "White Pony" album was hailed as a sort of "Sgt. Pepper" 
of hard-core rock, because it tamed the high-pitched squeals and incorporated a 
complex structure of smart, sweet-sounding melodies, without losing its metal edge. 

Some "White Pony" songs were hard for kids to mosh to. The band's next album, 
2003's "Deftones," ratcheted up some rougher edges. Moshers seemed to eat that 
up in concert, but the album didn't appeal to the crossover fans that "White Pony" 
brought to the Deftones. 

Last month, Moreno told MTV that the band's next album will be more like "White Pony." 
But the band stands behind "Deftones." 

"The (new) songs are kind of brainy. They're more Rush than Tool in a way," 
Moreno said on MTV. "On our last record, we got kind of lazy by writing as few 
riffs as possible. This one we're writing way more riffs." 

Cunningham doesn't use the word "brainy." He says the new songs sound like the 
Deftones. No huge departures. 

"There's harsh (rock tunes), and there's pretty (songs). But it's all strong. 
We feel really good, and we're all stoked with it," he says, speaking at breakneck 
speed. He's a fast talker. "This is the most we prepared in the longest time," 
he says. "We have about 18 to 20 songs that are complete right now. We haven't 
had more than that since we made our first record." 

In the past, the Deftones have recorded in Sacramento and in a Malibu mansion. 
This time, after touring for about a month, they plan to head to a studio in 
Connecticut. 

"It'll be the dead of winter with no distractions. We might as well be in a 
studio, like little beavers building a dam," he says. 

The group will also be working with a new producer, Bob Ezrin, who produced 
Pink Floyd's "The Wall," among other major works. 

"We've never worked with a musician-(producer). And Bob is a classically trained 
pianist," Cunningham says. "He could have a million ideas, and if we don't like 
it, it's our" final say-so. 

Cunningham is looking forward to going into a studio so soon after playing a 
tour of small venues. 

"Coming directly off the road, we'll be on fire," he says. 

That will be a departure. The band normally falls into a usual rock band 
routine, he says. 

"You get caught in the standard cycle," he says. "Writing, recording, touring. 
Writing, recording, touring. Bam, bam, bam. ... But this time we have a plethora 
of songs. 

"And we've been through a lot. We've been together 16 years now, and the past 
10 we've been out in the world touring the globe and having records out," he 
says. "We've gone through a lot of stuff -- marriages, divorces, kids. But 
right now, it feels really good. Everyone's really getting along well."

“MTV” – September 2004 // Chino Interviewed

 

Chino Moreno interviewed by MTV (September 2004)

For much of the summer, the Deftones have been writing, erasing and rewriting 
songs in a Malibu, California, studio. Now the band is hitting the road, ready
to premiere the material on a monthlong U.S. club tour.

"We're just going to get used to playing as a live band again," frontman Chino Moreno 
said. "For me, the best part of being in a band is playing shows, all the raw energy. 
So we want to get some of these new songs worked out live. It'll be interesting."

The tour starts September 27 in San Francisco and finishes October 30 in Hartford, Connecticut. 
The band plans to head right from the road into producer Bob Ezrin's Connecticut studio.

"The tour is routed so it ends in Connecticut, and the we load our equipment into 
Bob's studio," Moreno said. "He produced [Pink Floyd's] The Wall, so he's known for 
building songs. And we've been FTPing songs back and forth all along, so we're slowly 
constructing a record. We're building an album as opposed to just making a bunch of 
songs and putting them on a record."

The band has written 18 songs for the new album, Moreno said, describing them as 
"more White Pony than our last one," 2003's Deftones.

"The songs are kind of brainy. They're more Rush than Tool in a way," he continued. 
"On our last record, we got kind of lazy by writing as few riffs as possible. This 
one we're writing way more riffs. We have formats where we have to write the songs 
down and go over them and over them again."

In addition to gearing up for a new Deftones album, Moreno just finished the 
mastering on his long-awaited, even-longer-delayed Team Sleep side project. Formed 
in 2001, Team Sleep recorded a demo that leaked online and was all but abandoned by 
Moreno. But earlier this year, he rounded up indie royalty like Helium's Mary Timony 
and Pinback's Rob Crow to record a whole new album.

"We turn it in on Friday and it'll be out November 2. It came out really good. It's 
all pretty mellow and very un-rock," Moreno said. "It's very moody. Very beat-driven. 
We have an avant-garde drummer and a programmer who uses only an old sampler. And 
then there are all these melancholy, romantic guitar lines through it all."

He's a lot less open with information about the new Deftones record, refusing to reveal 
track names or even a title. But he's hopeful that fans will have the album in their 
hands by early next year.

www.deftonesworld.com

“Weekly Dig” – November 2003 // Chi Cheng Interviewed

 
 Deftones 
Whisper Sweet Nothings In Your Bleeding Ear 
by Ted Kehoe

Chi Cheng battled a nasty cold in Texas to talk with me about porn, flying, and the Nuge:

TK: Do I even want to ask you about your new governor? 

Chi Cheng: He's a little alpha male for me. It's like having a pumped-up Ted Nugent for governor. 

TK: How does the band get along having such individually different musical tastes?

Chi Cheng: There can be tension and fighting. Everyone brings their own piece to a song, 
but sometimes it's hard to get someone else into something they're just not feeling.

TK: You've played with some notable artists on previous records. Anyone you dream 
of playing with?

Chi Cheng: Willie Nelson. He's an amazing songwriter, guitarist and singer.

TK: How much porn is too much?

Chi Cheng: It's intrinsic to the individual. When you affect other people negatively, 
I guess, like kiddie porn. Stefan's into this series, “There's Something About Jack.” 
Pound-for-pound he's got the biggest cock in porn. Stefan's got volumes 1 through 20. 
I'm like, how much of this guy's cock do you need to see? I guess that'd be a good 
example of too much porn.

TK: How about one honest-to-god rock decadence story?

Chi Cheng: Not for me personally. I'm kind of a rock nerd. My brother threw a TV out 
a ninth story window with Stefan's encouragement. Stefan's the little devil on your 
shoulder. And my brother was his drunken pawn. 

TK: Without naming names, Deftones called out some major metal bands. What was that all about?

Chi Cheng: Chino talked some shit to a magazine. I guess the lesson is, “if you don't 
have something nice to say . . .” In his defense, when he was talking, he was talking 
as a music fan. They asked him, and you get tired of biting your lip all the time. 
We're all Metallica fans, Korn fans. I mean, we're always expected to be like, “Oh, 
I have great respect for everybody as artists. Creed's the greatest band ever, or whatever.”

TK: What would you choose for a superpower?

Chi Cheng: I'd have to say flying. I have constant dreams of flying. That'd be pretty dope.

TK: The band, and you personally, have a literary bent. Reading anything good?

Chi Cheng: I always have couple of books going. I've got Saul Williams' new book of poems, 
and Chuck Palahniuk's new book. He's a crazy motherfucker. 

TK: Why so long a break between albums?

Chi Cheng: It's touring. You get people complaining and I'm like, “Motherfucker, we were in 
your town a couple of months ago. We're not sitting around on our asses.” And this last 
album we were really meticulous about. Our idea for the next one is to put together a fast, 
beautiful album like Around the Fur.

TK: What else did you dream about doing besides being a rock star?

Chi Cheng: Teaching, maybe. I'd be happy doing anything. I get tired of the whole “tortured 
artist” thing. You think this gig is rough, try working at fucking Dairy Queen for a week, 
then tell me what you think.

WWW.DEFTONESWORLD.COM

“Seattle Weekly” – November 2003 // Frank Delgado Interviewed

www.deftonesworld.com

Deft Ones
Deftones reach out beyond the nü-metal ghetto.

by Andrew Bonazelli (Seattle Weekly)

THERE ARE MILES and miles of treacherous acreage between Rock and Roll Lamesville 
and Four Star Rock City. The Deftones have been subletting a cramped 1/1 in the 
outlying suburbs of the latter for years, but damn do they get off on slumming. 
Yeah, their undisputed status as Best Nü Metal Band in the World is only slightly 
less dubious than Miller High Life being the "champagne of beers," yet the Sacramento 
quintet is capable of exhibiting grace, power, beauty, and intellect, minus the genre 
handicap. They're also capable of accepting a plum slot on the knucklehead cash cow 
Summer Sanitarium tour opening for now-sucky Metallica and forever-sucky Limp Bizkit 
and Linkin Park, only to let outspoken vocalist Chino Moreno clumsily eviscerate the 
literacy-challenged headliners in Revolver ("Two bands that wouldn't exist if it weren't 
for me, straight up"). They're also capable of making the absolute best out of that 
unworkable 3 p.m. slot opening for notoriously impatient, beer-bellied Seek & Destroyers. 

"You know what's rad?" Deftones DJ Frank Delgado posits via phone from Sacramento. 
"Playing for, say, 20,000 kids in the middle of the day and opening with a Depeche Mode song 
["To Have and to Hold"]. That's probably the first and last time you're gonna hear a 
Depeche Mode song at a Metallica show. It was fun winning over their fans." 

With every album, the Deftones quietly inch further out of their pioneering, if 
retrospectively wack, sphere of rap rock influence and closer to joining Tool in 
representing big-concept metal in the pantheon of artists they truly cherish: Beth Gibbons 
of Portishead, Björk, Mogwai, and Tricky. Fourth album Deftones (Maverick) is a conflicted,
sloppy, inconsistent, but ultimately vital evolution into a world where suffocatingly black 
balladry coexists with battering-ram metal. What the record lacks in continuity and sequencing 
expertise, it compensates for with sparks of rambunctious intellectual creativity, much of 
which stems from Delgado's atypical samples and scratches. 

"I think we're all trying to pull in the same direction," he asserts. "We're just pulling in 
different ways, and we don't even know what that direction is. Early on, even on [debut album, 
the now passé metal/hip-hop hybrid] Adrenaline, there were [those kind of] dynamics; it's just 
that we didn't know how to harness them—the highs, the lows, the angry, the soft, the harsh.
I think we've gotten a lot better at taking one of those elements and just riding with it, 
as opposed to shoving them all into one song." 

So goes the latest incarnation of Deftones, ignoring the faux tuff "Get the fuck up" antics of 
imitator Bizkit in favor of nightmare-world lullabies "Lucky You" and "Anniversary of an 
Uninteresting Event," both of which have more fragile emotional discord than mentor Korn's 
entire, notably codependent catalog. During the tortured "When Girls Telephone Boys," 
Moreno shrieks "If you'd like that we can ride on a black horse, a great new wave Hesperian 
death horse." Fatalistic equine imagery in a future circle-pit mainstay? What sort of imbalance is this? 

"I think I like writing the crazy, heavy shit just as much as Stephen (Carpenter, guitarist) 
does, and I know Chino does too," Delgado claims. "Like 'When Girls Telephone Boys'—that's a
 pretty heavy song, and I'm right along in there with Stephen playing samples throughout the 
whole thing. There's kind of a breakdown solo, but it's not like a guitar solo: It's actually 
me. It's hard to make Stephen's downtuned guitars work with samples and Chino's crooning, but 
that's the learning process, making things work." 

Vague terminology to be sure, all this "learning process/making it work" rhetoric. But after 
numerous questionable moves—a wack, largely acoustic, New Age-y MTV Hawaii set, Moreno's honest 
but bitter-sounding Revolver interview, the ensuing Sanitarium cheapness ("Me and Chino didn't 
want to do the tour coming out of the box with a new record," Delgado admits)—Deftones are 
indeed "making it work," kind of. They believe their still-young audience will baby step with 
them through polysyllabic, dense metaphors and trip-hop-spiked metal. They believe the fans 
will accept a national tour that features openers as diverse as hesher veterans Clutch and as 
anonymous as Portishead torchbearers Denali. 

According to Delgado, Deftones' opener picks are "pretty representative of the new record. We 
wanted to try and bring out bands we think our fans would like and have fun with. You can go 
out with whoever's hottest on the charts, but everyone sees right though that, you know what 
I mean? And we've done that. You have to do that in this business. It's give and take. 

"If our fans were 14 or 15 when they caught on to [1997's] Around the Fur, they're 20 now, 
and they can appreciate the growth we've made. Some may be there for the pure aggressiveness, 
others for the sheer beauty. And if they're new to this, welcome."

“Metromix” – November 2003 // Chi Cheng Interviewed

Chi Cheng Interviewed

Metal head musings
Deftones on the Governator, Madonna and ‘ghettolicious’ Grammys

By Ari Bendersky (metromix)

With a slew of mediocre nu-metal bands popping up, stalwart metal mongers 
Deftones have managed to stay on top of the heap artistically, if not commercially. 
Currently on tour supporting the band's new self-titled album, bassist Chi Cheng spouts 
about the Governator, Madonna and ghettolicious seats.

M: You're from Sacramento. How do you feel about Arnold moving into your neighborhood? 

CHI: He's a bit of an alpha male for me. He's kind of a pumped-up, mildly more intelligent 
version of Ted Nugent, and I'm kind of scared of him. He's a little too "I'll drive my 
Hummer into your living room and hunt deer with a crossbow" kind of guy.

M:You guys posted a bunch of bootlegs on your Web site and your record label, Maverick, 
made you pull them. Did you get a personal lashing from Madonna, head of Maverick Records? 

CHI: ShE sure didn't, but if she wants to, she can. We tend to do things for our fans that 
aren't necessarily the most industry-friendly thing to do. [Record execs] have their jobs 
and we have ours. Music is our job. We put [the bootlegs] up, they weren't happy. We took them down.

M:How was winning a Grammy for Best Metal Performance? 

CHI: They put us in these super ghettolicious seats that weren't on the floor. They told us the 
ceremony was running late and if they called our name we'd need to get up there as soon as 
possible. We thought we weren't going to win because everyone who was winning was on the floor. 
Then, when they called our name, we had to jump this railing like 'hood rats.

www.deftonesworld.com