“Genesis” and “Ohms” demos were completely different plus Zach Hill snapping on new album

This week’s BBC’s Radio 1 Rock Show with Daniel P Carter was a Deftones special, playing Ohms in full plus interviews with Chino, Frank, Abe and Sergio. The band commented on several tracks from Deftones’ new album “Ohms“. Most interesting is that “Ohms” has a snapping guest; Abe and Sergio told BBC that Zach Hill (Team Sleep’s drummer) plus a bunch of friends are snapping at the end of “The Spell of Mathematics”. Chino adds up that “Genesis” was really different in the beggining with soft vocals and “Ohms” was a slow guitar song when Stef first sent him a demo.  Here’s a transcript of what the band had to say about the new songs:


Frank: I really like Genesis, man. I think that was one of the first songs where we were out the gate when we were done writing it, we would play it everyday when we were writing. Come in and write more stuff and we would just jam that one. I think we knew that was the opener.
Chino: There was a whole other other song to that, I wrote lyrics and sang a whole different song to that. The same exact recording, the same song, but it was a whole different approach as a whole. It was my initial idea and it wasn’t an attack kind of vocal, was very much I read through the music whatever, it wasn’t bad, but because we did it all in chunks or some at home, especially my vocals. So I came home and it was over the holiday, over towards the end of the year and I was listening to all the roughs of my vocals and stuff and some of the finals of my vocals and I said; man, I just want to approach this differently like this song deserves like something just more intense you know. I started it all over again from scratch and so glad I did because I love where it is now to wear what it was. You know. I mean it’s like night and day.


Chino: This is one of the first songs that we wrote, but a lot of this stuff kind of comes from jamming, so Ceremony was one of those ones where it was just like you know someone just playing something and then everybody just kind of like picks up their instrument just like oh starts reacting to each other and then it starts to build. But yeah, I feel like I really connect with sound lyrically, that song is pretty dark. Yeah, I kind of like tether with the true meaning of that song, ’cause it’s really really really bad. It’s not good. Yeah, I don’t know. That’s a hard one to talk about, but as far as the music and make the whole by the whole song to me is, I think it’s a special one for, you know on this record for sure.


Chino: The song itself is kind of…It was a trip because it’s probably like one of the most, specially the way it starts out musically, it’s like almost like reminiscent of thrash metal. The “Jiggin, jang, jang, jang”…. I mean, that’s like Death Angel or like straight up Bay Area like Crash, from where we were growing up. When Stef was playing out he came up with that was right away. I was just like yes, this is so like something that we all love but we’ve never really done. You know. And then the song kind of drops into like this swoony kind of versus whatever and… but the lyrics are pretty interesting to me because I really, really kind of painting a picture of like of a scenario in like… I live like around a Lake or like this Big Lake. I ride my bike around, like you know, couple times a week. I walk around it. It’s like a seven mile kind of loop, but I like about circling around the Lake and just like you know this is all like literal kind of things that I was seeing about, you know, I mean from like digging into the ashtray and pulling up someone cigarette and lighting it and taking a drag like very like descriptive kind of things, whatever. Although it’s all made up, it’s kind of fun. Sometimes we can do that as far as like be very, very descriptive. And don’t do that all the time. Maybe that’s kind of something that I really don’t do that much. I mean it sometimes my lyrics like you said earlier, look too camouflaged, so sometimes to be very descriptive is kind of like kind of out of my comfort zone anyway.


Sergio: There’s a part in one of the songs where it breaks down to like a cool drum and bass thing, and then there’s like clapping and snapping. Kind of coming in, you know, and what I really like about that moment was how organic it was because we had this written out the arrangement for the song. We merged two ideas in the studio. We were trying to come up with something in the studio and I had just kind of written out like a test arrangement. So Abe and I played it just to hear it and at the end of the what was the song at the time we kind of went into this jam and then were like that’s really cool. And I think it was like Chino or Stef. I think was like this should be in the song so that take that was meant to be a scratch take, became the actual song.
ABE: We had this thought of having some lot of space in this onto towards the end it’s allowed itself or something a bit different and we ended up having a little snap barbershop quartet snap duet… or actually no it was a quartet. We had some buddies were around. If you know Zach Hill, rad drummer from Hella, Death Grips and other bands and stuff… So we end up taking a little break. Met him for a beer or two, and then he went back in the studio with us and we’re just like let’s see what we can do and we went out and did snaps, Zach’s quite an amazing Mega Drummer, so something as simple as he just doing some snaps on the record were pretty cool. Always good to have friends around as well…


Chino: One of my favorite parts at the end of Pompeji, the end of it sort of like dying out and then it kind of goes into this kind of synth bed. When we put those Seagulls in there, this song sort of changes setting. I love when you can do that like just add this one little element and it shifts like the whole setting. You may have thought this song was taking place. You know, like whatever setting it is. Kind of neat. You know, I love transitions. You’re making a record these days. You know everything so single driven and you know if you’re going to make a record, that’s a piece of music. And it’s not a conceptual piece to music, but the fact that every songs can sort of transition to one another when things like that happen. It’s like, you know, that takes me back to like obviously some of my favorites records of all time, like Pink Floyd or whatever. Like you go on this journey, those kind of things like always stand out to me. Me and Sergio, specially like we’re always just like we have this thing to achieve that at some point we’re still far just like that. Look at each others eyes on certain parts and we just like we know we like get these points that are just like Floydian. Kind of moments were just like yes.


Chino: Stef sent me that demo three years ago you like I love when I opened up my email and like he sent me something that to me that’s one of the biggest highs where I can ever get ’cause he doesn’t do it often. So it means that like he’s hyped about this likely something he wants me to hear. You know it must be special. The tempo that is on the record. It’s like way spread up from way since it was like this real stonery kind of like you know. Just like sludgy kind of like thing, whatever but the riffs work that the ideas were there, but a lot of this stuff kind of comes from jam. You know, maybe a third of the stuff will come from just us being in the room and jam. Those are probably the most Deftones tunes, I think, because obviously did everybody just sort of like reacting to each other.

“Ohms” reaches #1 on Amazon and iTunes charts

One day after the official release of Deftones’ latest album – “Ohms“, the band has reached for the first time ever the top selling digital platforms charts. “Ohms” was number #1 on Amazon.com and iTunes charts. Around the world and considering only Amazon’s websites, 2020’s album was also #10 in Australia, #11 in the UK, #13 in Spain, #19 in Germany and #37 in Italy.

Besides the selling charts, “Ohms” has been worldwide acclaimed. Several magazines ranked the album as almost perfect:

  • 10/10 – metalinjection
  • 10/10 – distortedsoundmag
  • 9.5/10 – metacritic
  • 9/10 – bringthenoiseuk
  • 5/5 – nme
  • 5/5 – sputnikmusic
  • 5/5 – louderthanwar
  • 4.5/5  – diymag
  • 4.5/5 – allmusic
  • 4/5 – kerrang
  • 4/5 – independent
  • 4/5 – loudersound
  • 3/5 – theguardian

Deftones’ Chino Moreno on Creative ‘Balance,’ Healing Energy of New LP Ohms

“It’s dark,” says Chino Moreno. “It’s a trip.”

Not a bad off-the-cuff summary of Deftones’ ninth LP, Ohms, which amplifies the art-metal band’s signature dynamic extremes: Frank Delgado’s shadowy synth atmospherics are more prominent in the mix, and Stephen Carpenter’s detuned riffs scorch the terrain beneath them.

But Moreno isn’t describing the album — instead, he’s marveling at the post-apocalyptic orange skies that blanket his current home of Bend, Oregon. Weeks before Ohms enters the world, the West Coast is ravaged by wildfires that have polluted the air to dangerous levels. “I’m actually out walking right now,” the frontman says, noting one of his regular pandemic-era activities. “But I shouldn’t be because the quality is too bad. It’s 11 a.m., and it’s really dark right now.”

It’s already become a cliché to evaluate music in relation to our ongoing doomsday scenario — but, Goddamnit, Ohms gives us no choice. “We’re surrounded by the debris of the past / And it’s too late to cause a change in the tides,” Moreno sings on the title-track. “So we slip into out hopeless sea of regret.” Oof.

But like every Deftones album, their latest achieves serenity in the darkness — even down to the title, which conjures both the term for electric resistance and the sacred meditation sound (“om”) used in some Eastern religions. And the writing process helped the band achieve a sort of healing.

Subtle tension started to simmer as they recorded 2016’s Gore, partly the product of Deftones co-producing the LP themselves. So for their initial jams in late 2018/early ’19, the band’s three original members — Moreno, Carpenter and drummer Abe Cunningham — met up in their small L.A. rehearsal space and worked out ideas “in a triangle.” The end result is a more “balanced” album, both sonically and personnel-wise.

“I felt like that was definitely missing from the Gore record — not completely, but not as represented as I would like to be,” Moreno says. “So that that experiment with those three of us was definitely important. I’m pretty sure that [nothing] we wrote during the sessions made the record. I could be wrong — there could be one or two little things. But it wasn’t even about that. It was more about getting in the room together and just hanging out.”

Moreno spoke to SPIN about the album’s healing energy, their upcoming Black Stallion remix of White Pony and why many fans still consider that 2000 LP their definitive work.

SPIN: During the Gore press cycle, Stephen admitted he wasn’t originally interested in those songs and kinda struggled to get into it. In recent interviews, you’ve talked about working with him directly in the writing process for Ohms. Did that get you into a better place creatively?
It was definitely beneficial. The first time we got together, it was just Abe, Stephen and myself. I live in Oregon; Abe lives in Sacramento, and Steph was in L.A., so Abe and I went down to L.A. to this little boxed-out rehearsal spot that we usually work at. I didn’t bring a guitar — I just had my mic. We set up in this little triangle sort of facing each other and just started making noise.

The core of the band, obviously aside from [bassist] Chi [who died in 2013], was us three — back from when we were kids in Stephen’s garage. I wanted to see what it would be like to get back to that basic foundation. I love to play guitar, and a lot of times I bring a guitar in and start playing; Abe will start playing with me, and then all of a sudden we’re creating a song, and Stephen’s kind of left finding his place in something [Abe] and I made. Sometimes that works great. But I realized that his guitar playing with Abe’s drums is a huge part of what Deftones do. And I missed that — not even as a band member but as a fan.

It’s interesting to hear you talk about getting to that kind of basic place: One of the things that stands out on Ohms is how dynamic and balanced it feels. There’s a lot more synth and bass presence than on Gore. Obviously, you wanted Stephen to have a bigger role — were you aiming for it to be more collaborative overall?
The one thing we were very thoughtful about was making make sure that balance was there — and wanting everybody to be heard. It’s weird that people think, “Oh, Stephen wasn’t there [on Gore] or “You guys just didn’t want him involved.” It was nothing like that. Stephen was there every day. He was just kind of in his corner [or] in the other room. He’d pick up his guitar, but he just wasn’t really checked in completely for the process. Maybe he didn’t want to be — I don’t know. But it wasn’t because we didn’t want him to be part of it. When we were done with that record, he came to me and explained what he was going through, and I totally understood. I’m like, “Dude, we all go through shit.” But when we went in to make this, I wanted him to be comfortable and to have fun. I wanted us all to have fun.

There’s a lot more vocal harmony presence on this album — “Ceremony” is a good example. You really leaned into it.
I never did too much of it on any of our previous records. I’m just experimenting — sometimes I try something and will be like, “Ooh, I’m gonna run in there real quick.” Also, Sergio there when I recorded my vocals. He came in the studio with me last summer [to producer Terry Date’s Seattle studio] because at that point we’d finished recording all the musical tracks.

Sergio has a great sense of melody, and I like to shoot things off people. Terry is good at that too, but it’s always great to have someone in the band. No one ever really speaks up when it comes to vocals — they kind of just go, “Go ahead and do your thing.” They trust me with it, which is rad. But I still like to get a reaction. With some of those harmonies, we literally sat on the couch listening to the thing, just humming or singing together. This is a whole different element of songwriting that I haven’t expressed too much.

Ohms reunites the band with Terry Date, who worked on the unfinished Eros record. That was a painful era, given Chi’s car accident in 2008. You never got to wrap up that project — was that unfinished business the main impetus for wanting to work with Terry again?
That was definitely part of it. But we’ve always had great experiences working with him. Even after White Pony, before we started the self-titled record, he was like, “I’ve loved working you guys on all these records. I feel like we all did a great job. But I’m not gonna get my feelings hurt if you want to work with someone else.” At that time, we were like, “Nah, man.” We’re all very close friends. I still talk to him on the phone pretty much at least once a week, just about nonsense.

We eventually worked with Nick Raskulinecz after the Eros record [on 2010’s Diamond Eyes] — Nick sort of approached us, and we had the opportunity to pretty much start a whole other record. I didn’t think the record company was gonna [agree] because we’d already spent a record’s [budget]. And then all of a sudden, it’s like, “OK, we’re not gonna put this out. Will you give us money for him to make a brand new record?” They said yes, and Nick spearheaded that whole thing. We wrote and recorded that record in like two months — seriously. So it was kind of an experiment on its own, and it worked: Diamond Eyes really captured the spirit of what was happening in our lives. For the next record, it was like, “Well, that worked. Let’s try that again.” To me, [2012’s] Koi No Yokan feels like a reprise of Diamond Eyes. We kind of tried to do Gore ourselves, and I think we took on a lot. That one was kind of weird. But with Ohms, it was like, “This is long overdue, working with Terry,” so we hit him up.

The band vibe wasn’t 100 percent right for Gore, and it seems you’re in a much better, more collaborative place now. Did you miss having that outside voice on Gore?
Totally. We did have a producer, Matt Hyde, who engineered the Koi No Yokan record. We’ve had a great relationship with him. And he was there and [very] present. But looking back, I can totally see some of the things that triggered the chain of events. [laughs] If there’s no one else there to guide or say, “Hey guys, stop right there. Okay, that was cool, but play it again,” I become that person. By default, I’m kind of dictating what we’re doing. Then at some point, I’m sure Stephen was like, “Fuck you, motherfucker!” [laughs] Or he just retreated in a sly way.

[For Ohms, it was important] having someone there that we all trust, who can help us make sense of what we’re doing. A lot of times when we’re writing, we’ll play something, and like 20 minutes later we’re on a whole different planet. And that’s cool if we were just a jam band and wanted to do that forever, but at some point, we need some structure. So [it was good] to have someone there, a real producer — I know it sounds pathetic ’cause we’re grown men that need a babysitter. [Laughs.]

Let’s talk about the Black Stallion remix project. It’s an intriguing concept — experimenting with the album 20 years later. 
The record’s just been mastered, and it’s fucking brilliant. It could have been a little self-indulgent — it’s a record based off another record that’s people already like, so it would easy to fuck up. Our initial idea was to have DJ Shadow remix the whole record. He said he would love to do a song, so he did a remix of “Digital Bath.” The majority of the people we reached out to came back with excitement: “Oh, I love this song. Can I do this song?” The record is sequenced exactly like White Pony, so it kind of takes you on a journey in the same way but completely flipped upside-down.

White Pony is the one Deftones album that seems to resonate beyond hardcore fans. Can you pinpoint what makes it that album for so many people?
I think it’s one of our best-produced records — it’s some of Terry’s finest work. The drum sound is awesome. Because we were kind of influenced by a lot of electronic, beat-driven music like DJ Shadow, we really wanted to make a drum-forward album. So that record has a lot of head nod to it. It’s also very expansive. There’s a lot of kind of soundscape-y stuff, and there’s a heaviness — all those trigger points that Deftones are known for. But I remember when we first put it out, some people didn’t get it right way, like, “What is this? Where are the Deftones at?” Obviously, there are parts that jump out at you, but overall I think it’s a headphone record — kind of a slow-burner. So that’s given it life all these years.

It’s depressing that you guys can’t tour behind all this stuff. But bands are trying to maneuver around the pandemic through livestreams and playing in empty venues. No one can predict 20201, but have you thought about when — and how — you might perform next?

We don’t have any plans at this moment. It’s tough decision – obviously, nothing replaces live music. I understand why people are trying to find different ways to do it. On one hand, [sometimes] something is better than nothing. But at the same time, sometimes nothing is better than something. And that’s just me being speaking about us in general — I don’t know how good an internet show with us in a room would be. Maybe it would be good, but I don’t know.

Text source from: https://www.spin.com/2020/09/deftones-chino-moreno-ohms-interview/

DEFTONES Wanted To Record ‘Ohms’ ‘Pretty Much Live As A Band,’ Says CHINO MORENO

In a new interview with Australia’s Music Feeds, Chino Moreno was asked if the challenge of finding new ways to present the new DEFTONES album, “Ohms”, has been “oddly refreshing” for him and his bandmates because of the current climate. He responded: “I don’t know if refreshing would be the best word, but it is a different experience, that’s for sure. The whole thing with us, when we’re making records, is that we’re always trying to find different angles or ways of approaching what we do. We’re never looking to completely reinvent ourselves, but at the same time, we are always looking to expand on what we’ve done before, both musically and in the way that we approach it. The thing that we did a little differently on this record is we took a bit of a different approach to the guitars. We wanted to record this one pretty much live as a band. We didn’t record to a click track or anything. It’s just us, much like we were when we were younger, playing together in a garage without all this technical stuff — basically just us playing off of each other and trying to feed off the energy in the room. I think that really helped capture that exciting vibe for us, made it feel like it used to when we were kids.”

Asked how “Ohms” compares to DEFTONES‘ previous album, 2016’s “Gore”, Moreno said: “The vibe in the band is a lot different from what went on with ‘Gore’, and that was our goal when we set out to make this record. We learned a lot when we were making that record. It was a little bit fragmented due to some reasons. This time we really wanted to get back to pulling that organic energy from all five guys in the band, firing on all pistons. That’s not something that you can just turn on either; it has to happen organically.

“We’ve been friends for so long and been through so much stuff, so we took our time to cultivate that energy, whereas on ‘Gore’, we went in for these writing sessions and just tried to bash out songs, and the first songs that we made got kept, and that was the record. On this one, we stretched it out over a year and a half, so we wrote, then we’d step back and reflect on what we’d done, and then work on it some more. We really let the songs and the record grow without the weight or pressure of having to have it done at a certain time. I really feel that contributed positively to the way that ‘Ohms’ sounds.”

“Ohms” will arrive on September 25 via Warner. The disc was recorded at Henson Studios in Los Angeles, California and Trainwreck Studios in Woodinville, Washington and boasts a familiar collaborator in veteran producer and engineer Terry Date, who worked on 1995’s “Adrenaline”, 1997’s “Around The Fur” and 2000’s “White Pony”.

DEFTONES includes Moreno, Frank Delgado, Stephen Carpenter, Abe Cunningham and Sergio Vega.

Text source from: https://www.blabbermouth.net/news/deftones-wanted-to-record-ohms-pretty-much-live-as-a-band-says-chino-moreno/

DEFTONES Launch ‘Adopt-A-Dot’ Fundraising Campaign For Two Great Causes

DEFTONES have launched a fundraising campaign called “Adopt-A-Dot” where fans can make a charitable donation for one or multiple dots from the thousands of pixelated dots that comprise the cover art — created by Frank Maddocks — of the band’s forthcoming album “Ohms”.

All proceeds will benefit the UC Davis Children’s Hospital and Live Nation‘s Crew Nation, a global relief fund for live music crews who have been impacted by COVID-19. Donations can be made at Deftones.com/Adopt.

There are 12,995 dots available. Once a donator adopts their dot(s), they have the ability to upload their photo to the site and be a part of the album cover for these two special causes.

Maddocks states about the art: “‘Ohms’ album art is an iconic rendering of a suspended, chance moment in time. As with DEFTONES music and lyrics, the definitive meaning of the imagery invites and relies on interpretation from the viewer. From a dreamy gaze above, to sadness, hope, despair, optimism and a longing for connection, the emotions conveyed are endless and infinitely evolving.”

About UC Davis Children’s Hospital: UC Davis Children’s Hospital is the Sacramento region’s only nationally ranked, comprehensive hospital for children, offering children and their families the highest level of care for virtually every pediatric condition.

About Crew Nation: Live music inspires millions around the world, but the concerts we all enjoy wouldn’t be possible without the countless crew members working behind the scenes. As COVID-19 puts concerts on pause, we want to extend a helping hand to the touring and venue crews who depend on shows to make a living.

“Ohms” will arrive on September 25 via Warner. The album was recorded at Henson Studios in Los Angeles, California and Trainwreck Studios in Woodinville, Washington.

12,995 dots comprise the #Ohms album cover, and we’re inviting you to become a part of it. By adopting a dot on the…

Posted by Deftones on Tuesday, September 22, 2020

Text source from: https://www.blabbermouth.net/news/deftones-launch-adopt-a-dot-fundraising-campaign-for-two-great-causes/

“Ohms” album reviews, song by song

“Ohms” has already been reviewed by some specialized websites in music reviews. Here’s the first thoughts on Deftones new record – “Ohms” – to be officially released this Friday:

1. Genesis 5:17

  • “Genesis” leads the album with a floating introduction that quickly explodes with Moreno lamenting, “I reject both sides of what I’m being told // I’ve seen right through now I watch how wild it gets,” setting the stage for the album, sonically and thematically.  (source: ghostcultmag.com)
  • Opening with an eerie synth intro on the recently-released second single/video, ‘Genesis‘ [the first being title-track ‘Ohms‘] it’s only a matter of seconds before all concerns of this being a lacklustre offering; are quickly put to rest. (source: overdrive.ie)
  • The eerie, atmospheric opening of ‘Genesis’ gives way to a punishing riff as he, bassist Vega and drummer Cunningham lurch forward in unison. The band are experienced when it comes to delivering album openers as mission statements, and kick things off with aplomb, the song’s explosive ending crashing into ‘Ceremony’ with not a second to spare. (source: xsnoize.com)
  • “Genesis” is obviously a creation story, but here it’s also a statement of purpose. This is what’s up. This is what we’re doing now. It sounds like what you want us to sound like (many of the production effects, arrangements, and vocal phrasings will call to mind bits of White Pony, which Date also worked on) but it also sounds like where we’re going. And just as an aside: Man does it sound good to hear Moreno scream again over magnificent foreboding riffs like this. (source: stereogum.com)
  • Genesis, the latest single, starts the record off with Frank Delgado’s whirring synths, followed up by Carpenter’s White Pony/Diamond Eyes style of clean guitars, before switching gears and launching into the full track, with Chino Moreno’s screams welcoming everyone to the 46-minute journey that they are about to witness. His trademark style of ambiguous and impersonal lyricism returns, crooning words such as “So I’m leaving you tonight, it’s not fun here anymore” on second track Ceremony, or “I believe your love has placed a spell on me, I believe your love creates a space where we can breathe,” which comprise the chorus of The Spell of Mathematics. (source: bringthenoiseuk.com)

2. Ceremony 3:27

  • Case in point, the albums second track, ‘Ceremony‘ is very much led by Chino’s hypnotic vocal delivery, twinned with Sergio [Vega, bass] and Abe [Cunningham, drums] piledriving a pulsing root that allows Carpenter to decorate with his trademark riffing. This will no doubt please fans of ‘Around the Fur‘ and ‘White Pony‘ when referencing the balance of sound on the bands’ discography. (source: overdrive.ie)
  •  “Ceremony” marches forward with a breathy, atmospheric sound that contrasts with its dystopian lyrics. (source: ghostcultmag.com)
  • The band are experienced when it comes to delivering album openers as mission statements, and kick things off with aplomb, the song’s explosive ending crashing into ‘Ceremony’ with not a second to spare. (source: xsnoize.com)
  • His trademark style of ambiguous and impersonal lyricism returns, crooning words such as “So I’m leaving you tonight, it’s not fun here anymore” on second track Ceremony. (source: bringthenoiseuk.com)
  • In between, Deftones treat you the slightly hypnotic ‘Ceremony’. (source: punkrocktheory.com)

3. Urantia 4:30

  • The sharp teeth of ‘Urantia‘… (source: overdrive.ie)
  • Don’t look at me. “Urantia,” for example, is where much of the album story canon comes from, I suspect. “The Urantia Book” is a text first published in the 1950s that attempts to wed religion, science, and philosophy, a sort of Bible Part 2, this time with an empirical method involved(?), supposedly delivered by angels(?). It describes the formation of the galaxies and millions of other planets with intelligent life overseen by God, and also follows the life of Jesus with bonus sidequests and shit that we didn’t get in the first telling. “Urantia”: It’s also a Deftones song. A song with riffs like staccato machine gun fire panned in the headphones so it feels like it’s all around you but paced just off when you don’t expect it, like I suppose how chaotic gun fire would actually go; I don’t know much about being surrounded by gunfire to be honest. And then in the midst of all that there’s a dude on like a toppled building singing Tears For Fears songs that sound like they’re about breaking off his romance with God. It also has the album’s first or second catchiest everyone-in-the-stadium-raising-their-hands-to-the-sky-to-scream-it-out-together chorus. (source: stereogum.com)
  • (…) beat you over the head with an awesome staccato riff in ‘Urantia’’. (source: punkrocktheory.com)

4. Error 4:50

  • (…) the up-tempo pulse of ‘Error‘ [an essential addition for their live setlist] come chomping at the heels, thanks to the ‘heft‘ of Carpenter’s chugging riffs, which ascends and descends among the architecture of Vega/Cunningham’s rhythm section. Beautiful stuff indeed. (source: overdrive.ie)
  • (…) unrelenting  “Error”  reflect a longing for both passion and freedom. (source: ghostcultmag.com)
  • The metallic attack of ‘Error’ is proof of this, surging forward and pulling the listener along in its wake, with Carpenter’s chugging lead guitar the star of the show. If he felt slightly removed on 2016’s Gore, he wastes little time making his presence felt on its follow-up. (source: xsnoize.com)
  • (…) both Stephen Carpenter and Abe Cunningham have their roles brought closer to the fore, the former in scathing guitar lines like on Error. (source: thesoundboardreviews.com)

5. The Spell of Mathematics 5:27

  • As we hit the mid-way mark, ‘The Spell of Mathematics‘ opens with a low-end rambunctious intro, before Chino sings and screams a dreamy, melancholic melody that at times, echos the tone and delivery of one Robert Smith [The Cure]. (source: overdrive.ie)
  • “The Spell Of Mathematics,” like most of the songs here, opens with an aggressive vocal before drifting elsewhere. The chorus delivers thrusting empyrean harmonies contrasted with Moreno’s screams, like a man in conversation with the better voices in his head. Then comes a second movement, with the song breaking itself down over the final two and half minutes into little more than a finger snaps beat, a martial snare, a tool shed bass, and a whirl of vaporous effects. (source: stereogum.com)
  • “The Spell of Mathematics” soars with distortion and ebbs and flows between pummeling drums and dreamy vocals. (source: ghostcultmag.com)
  • ‘The Spell of Mathematics’ bursts into life with noisy urgency and a towering wall of sound that ebbs and flows instinctively, there one moment and gone the next, Carpenter and Vega involved in a musical tug-of-war as the emphasis alternates between guitar and bass, the song swept along into a mostly-instrumental coda that’s held together by Cunningham’s expressive drums – its compositional approach indicative of the record’s collaborative nature. (source: xsnoize.com)
  • “I believe your love has placed a spell on me, I believe your love creates a space where we can breathe,” which comprise the chorus of The Spell of Mathematics. replete with Moreno’s melodic hums, bassist Sergio Vega’s rumbling bassline, and finger snaps which end the track in a low-key fashion. (source: bringthenoiseuk.com)
  • When The Spell Of Mathematics or Pompeji go into their extended outros, they feel consciously crafted as transitional phases to let the album breathe, and they’re utterly fantastic at doing so. (source: thesoundboardreviews.com)

6. Pompeji 5:25

  • Following that, is the masterfully-crafted, ‘Pompeji‘/’This Link is Dead‘. Two tracks that transition into one, displaying the unique poetic transportation abilities of Moreno, who in tandem with the band, manage to whisk the listener away to abandoned beaches/landscapes [seaguls included], all the while, allowing the arrangement to feel lightweight at times, but with unexpected anchoring twists and turns, before a delicate and utterly heart-aching synth outro, that bridges into the walloping force of ‘This Link is Dead‘. (source: overdrive.ie)
  • When The Spell Of Mathematics or Pompeji go into their extended outros, they feel consciously crafted as transitional phases to let the album breathe, and they’re utterly fantastic at doing so. (source: thesoundboardreviews.com)
  • “Pompeji” too finds Moreno juggling vocal attacks, but in even quicker succession this time, yelling on the up note then retreating to catch his breath for the next. The title is a reference to the ancient Roman city burned by the infamous volcano, a scene of devastation that left much of the area and its inhabitants entombed forever in ash in their final moments. “Jesus Christ, you gave your life, but we die in vain,” he sings over guitars corroded and rusted like a prolific backwoods murderer’s trophy-taker. “Ohh we drink from the fountain of intent, and ohh we choke on the water then repent.” Like the previous song, “Pompeji” transforms itself halfway through, this time into a spacious and cinematic meditation that sounds like the soundtrack to an A24 film where someone’s about to be killed for reasons they don’t quite understand by a force they barely know exists. It’s a devastated landscape, a sky full of squealing gulls bustle as a grindhouse synth note spreads out, the noise of water lapping at a shore, perhaps an oarsman rowing, perhaps a last breath. “We choke on the water,” as the man sings. (source: stereogum.com)
  • The album takes a breath on “Pompeji,” with a more balladic temperament and swaying tempo. (source: ghostcultmag.com)
  • Delgado bringing home multi-movement highlight ‘Pompeji’ with ghostly keys. (source: xsnoize.com.com)
  • There are quite a few of them scattered here and there, though, such as the synth (and seagull-sample filled) break in Pompeji (which harkens back to the ‘80s, and has a really strong Stranger Things vibe to it). (source: bringthenoiseuk.com)
  • But there they are on ‘Pompeji,’ which closes with one of Delgado’s more gloomy soundscapes. (source: punkrocktheory.com)

7. This Link Is Dead 4:37

  • Following that, is the masterfully-crafted, ‘Pompeji‘/’This Link is Dead‘. Two tracks that transition into one, displaying the unique poetic transportation abilities of Moreno, who in tandem with the band, manage to whisk the listener away to abandoned beaches/landscapes [seaguls included], all the while, allowing the arrangement to feel lightweight at times, but with unexpected anchoring twists and turns, before a delicate and utterly heart-aching synth outro, that bridges into the walloping force of ‘This Link is Dead‘. (source: overdrive.ie)
  • That atmosphere bleeds directly over into “This Link Is Dead,” which I’m pretty sure isn’t about proper website maintenance. It starts with the sonar creaking of an ice shelf and notes from an angelic horn before a cascading pick slide delivers a — once again — especially furious Moreno working a screamed verse into a brooding chorus. It also manages somehow, with all that around the edges, to be the most groove-heavy and violently explosive of the album. (source: stereogum.com)
  • (…) while “This Link is Dead”  and “Radiant City” dive back into unstoppable ferocity and gripping guitars. (source: ghostcultmag.com)
  • The paranoia-fueled, groove-heavy ‘This Link Is Dead,’ which is probably not about your website’s SEO. And if you are looking for some ethereal brooding, they have you covered. Über-heavy riffage that seamlessly morphs into something hooky? Check. Rhythms that shapeshift from hip hop to hardcore? Check. And then there is of course Chino Moreno, who once again croons and screams as if his vocal cords still haven’t figured out what limitations are. (source: punkrocktheory.com)
  • (…) the scorched-earth intensity of ‘This Link is Dead’. (source: xsnoize.com)
  • (…) on a song like The Link Is Dead, proving just how deeply his stock as a metal vocalist runs. Indeed, there’s a lot about Ohms that makes it feel distinctly like a metal album. (source: thesoundboardreviews.com)

8. Radiant City 3:35

  • (…) while “This Link is Dead”  and “Radiant City” dive back into unstoppable ferocity and gripping guitars. (source: ghostcultmag.com)
  • Vega’s energetic performance on ‘Radiant City’ opening the song up and allowing Moreno’s distinctive vocals to swoop in for its rocket-fuelled chorus. (source: xsnoize.com)
  • The skittish strobing rush of ‘Radiant City’… (source: noizze.co.uk)
  • ‘Radiant City’ has a very old-school Deftones vibe that at first feels a little out of place on this album before growing on you. (source: punkrocktheory.com)

9. Headless 4:59

  • (…) the more dreamy ‘Headless,’ which is one of those Deftones songs that just wraps itself around you. (source: punkrocktheory.com)
  • Second-to-last offering, ‘Headless‘, begins with an almost soundscape feel, before the Carpenter/Cunnighman/Vega chug comes to life, resulting in a track that wouldn’t be out of place on ‘White Pony‘. (source: overdrive.ie)
  • The penultimate song, “Headless,” delivers punches with driving bass lines that juxtapose with buoyant choruses and haunting melodies, a contrasting dynamic that Deftones have mastered. “Ohms” briskly launches into expectedly joyous melodies with mesmerizing riffs and cathartic grooves, concluding the album on a much-needed, energetic high note. (source: ghostcultmag.com)

10. Ohms 4:10

Not reviewed

DEFTONES Release Music Video For New Single ‘Genesis’

DEFTONES have released the official Sebastian Kökow-directed music video for their new song “Genesis”. The track is the second single from the band’s upcoming ninth album, Ohms, which will arrive on September 25 via Warner.Speculation of the forthcoming album among fans swept across the media landscape, stoking curiosity as the band’s web site and social platforms went dark. The intrigue continued to rise when they revealed the striking album art on their site with no additional information. Designed by longtime collaborator Frank Maddocks (who also designed the iconic “White Pony” LP cover), the captivating album image of two eyes made up of thousands of white pixels cryptically appeared on a billboard in the cultural hot-spot of Los Angeles on Fairfax Avenue above the landmark restaurant Canter’s Deli with the caption “This Is Our Time…We Devour The Days Ahead.”

Recorded at Henson Studios in Los Angeles, California and Trainwreck Studios in Woodinville, Washington, Ohms is an otherworldly body of work meticulously crafted by the five-piece band. It is a magnificent tour de force and their first album in four years since the critically acclaimed “Gore” LP in 2016. The band, which includes Chino Moreno, Frank Delgado, Stephen Carpenter, Abe Cunningham and Sergio Vega, has produced a dense LP with every member firing on all cylinders. The album also boasts a familiar collaborator in veteran producer and engineer Terry Date, who worked on 1995’s “Adrenaline”, 1997’s “Around The Fur” and 2000’s “White Pony”. All of the above assembles and sets the stage to deliver “Ohms”; 10 tracks of raw escapism and unparalleled grooves that have made DEFTONES‘ sound singular for over two decades.

Ohms track listing:

01. Genesis
02. Ceremony
03. Urantia
04. Errorr
05. The Spell Of Mathematics
06. Pompeji
07. This Link Is Dead
08. Radiant City
09. Headless
10. Ohms

DEFTONES singer Chino Moreno told Kerrang! magazine that Ohms was a more collaborative effort than “Gore”, which saw guitarist Stephen Carpenter largely excluded from the production process.

“When you’ve made a lot of records with the same people, everybody has to be engaged,” Moreno said. “We’ve learned the hard way. A perfect example would be ‘Gore’, when Stef basically admitted, like, ‘I didn’t have much to do with this record.’ And that was not because we didn’t want him — my favorite ideas of DEFTONES songs are ones that he spearheads.”

He added: “When the record came out, I think people felt that Stef wasn’t as big a part of it and that it may have suffered in certain areas because of that, so one of the most important things [with the new album] is that everybody is engaged and everybody is excited.”

DEFTONES is Moreno, Carpenter, drummer Abe Cunningham, programmer Frank Delgado and bassist Sergio Vega.

This past May, DEFTONES postponed their 2020 North American tour due to the coronavirus pandemic sweeping the globe. The Live Nation-produced 20-date trek with GOJIRA and POPPY was scheduled to kick off on July 27 and conclude on September 5.

“Gore” bowed at No. 2 on the Billboard Top 200 in 2016, moving over 71,000 units first week and marking DEFTONES‘ highest chart position in 13 years.

Text source from: https://www.blabbermouth.net/news/deftones-release-music-video-for-new-single-genesis/