Deftones Unveil New White Pony 20th Anniversary Merch Line

With a reissue on the way and an album listening party planned for later today (June 22), Deftones are doing plenty to celebrate the 20th anniversary of White Pony. And now fans will even be able to wear their love for the Sacramento gang’s third album with a new ‘White Pony 20th Anniversary Capsule’ merch drop.

Featuring a couple of T-shirts, a baseball tee, a longsleeve, a hoodie, jacket, shorts and even a White Pony flag, Deftones’ new anniversary collection is clearly a must-have for fans of Chino Moreno and co.’s iconic LP, with the ‘Shut up and take my money’ GIF instantly coming to mind when scanning the collection…

Read this: Deftones: An oral history of White Pony

As well as releasing a whole load of White Pony merch, Chino confirmed last week that an upcoming reissue of the record will also come with a full remix album.

“We’re going to do a sort of flipside entitled Black Stallion,” he said. “A lot of people are on it – some that inspired the writing on the original record itself. We had that idea pretty much 20 years ago, even before we started writing White Pony. It’s something we always joked about, and now it’s actually come to life.”

The reissue will also feature the ‘definitive’ White Pony tracklist, amending the fact that, when the LP appeared on streaming services, single Back To School (Mini Maggit) was track one, when in fact White Pony was originally supposed to begin with the song Feiticeira.

“I don’t think it’s a terrible idea to correct the order on streaming,” pondered Chino. “But at this point in time it kinda is what it is. I still think it’s a great record, but when we do the reissue we’re definitely going with the original version, mainly because that’s what it was intended to be.”

Check out Deftones’ new White Pony merch below:

Posted on June 22nd 2020, 2:11pm



Text source from: https://www.kerrang.com/the-news/deftones-unveil-new-white-pony-20th-anniversary-merch-line/

Deftones: An Oral History Of White Pony

The new millennium was less than a week old when Deftones decamped to a Hollywood mansion to begin work on their third album.

They were already in imperious form: their two previous albums – 1995’s Adrenaline and 1997’s Around The Fur – established them as one of the most acclaimed, innovative and incendiary bands to emerge in the ’90s. And a lot of bands (not to mention labels) were getting rich by peddling a brain cell-deficient strain of their musical DNA. But while Deftones – alongside Korn – were hailed as the founding fathers of the ascendant nu-metal scene, that very notion rankled with them. Instead of pride, they felt constricted – prisoners of association to a scene they never intended to create.

What was needed, then, was a defining artistic statement – a clinical, inarguable separation from the endless procession of baggy-jeaned angst reciters they had left in their wake. White Pony would eventually prove to be just that: a grandstanding realisation of their bid for individuation.

Between indulging in rock’n’roll excess and frequent spells on Tony Hawks on the PS1, together frontman/guitarist Chino Moreno, guitarist Stephen Carpenter, bassist Chi Cheng, drummer Abe Cunningham and turntablist Frank Delgado found a way of re-forging their signature sound. Applying a rich sense of ambience and atmosphere to their music, Deftones tempered their innate ferocity without diluting. With Terry Date on production and some magnificent guest vocals from Tool’s Maynard James Keenan on Passenger and Rodleen Getsic on Knife Party, the outcome was an 11-track body of work that continues to beguile listeners to this day.

Part of the enduring appeal of White Pony is its marriage of music that hits immediately with oblique lyrics that often defy direct interpretation. Then again, you don’t need to understand what Chino means when he sings ‘I taste you much better off teeth taste’ on Korea – you just feel it. What’s more, for all the poetic abstraction on offer, there remains a vivid cinematic quality to the narratives of songs like Change (In The House Of Flies), Digital Bath and Passenger. Abductions. Drug-induced hazes. Sexual fantasies. Doomed teenage romances. Murder via kitchen appliance and bathwater. Religious visions. In many ways White Pony is an album just waiting to be turned into a David Lynch film.

Released 20 years ago on June 20, it debuted at Number Three in the United States – catapulting the band onto the same shiny MTV shows and countdowns that typically featured Britney Spears and the Backstreet Boys. Here, then, is an album that belongs in a rarefied fraternity of classic albums such as Nine Inch Nails’ The Downward Spiral, Soundgarden’s Superunknown, Tool’s Lateralus and Nirvana’s In Utero – a defiantly dark, scrupulously artistic and profoundly anti-commercial record that somehow tapped into an audience of millions worldwide.

Naturally, as with Adrenaline and Around The Fur, bands tried to imitate it, but this new blueprint was too complex to mimic (insert your own Shite Pony examples here). Bands could approximate the energy of Deftones’ music, but not the nuances, the musical intelligence and the lyrical abstraction. The Sacramento band had reached a summit even their most accomplished of peers could not.

Here, to mark the 20th anniversary of this classic album, what follows are collated observations and reflections given to Kerrang! over the years by Chino Moreno and Abe Cunningham on the classic album that left indelible hoofprints on modern rock music…

It All Started With The Artwork

Chino Moreno (vocals/guitar): “White Pony was definitely the only record up to that point where the art came before the music. I said I wanted to call it White Pony – there’s an old ’80s song [by Danish duo Laid Back] that has this line in it: ‘If you want to ride, ride the white pony.’ It’s a total drug reference. I looked on clipart for a free art outline of a pony and said I wanted that to be our thing. We were going to call the record White Pony before any song was written. That was the only time we ever did it, and it’s crazy how iconic it is now.”

White Ponycover

They Knew They Had To Change Things Up

Chino: “When we went into it we didn’t have an idea of what kind of record we wanted to make, but we knew we wanted to do something different, a little bit left of centre. At that time, especially after Around The Fur, a lot of bands were coming out and the nu-metal stigma was starting to brew and we were getting tossed in with that whole category of music. White Pony was our answer to it, just to get experimental and try different things and not follow any formulas that we had stumbled upon before.”

Abe Cunningham (drums): “It was our stand against everything that was going on at the time. I just think of it as a beautiful white horse running free – and at the time that white horse running free was us! In the scheme of things at that time, all the stuff that was going on musically – trends and whatnot – it was very important to us to go somewhere different. We took a hard left and went the other way and carved our own path, which we’d been doing the whole time anyway, but that was intentional.”

There Were Some Creative Tensions Simmering In The Studio

Chino: “We went through a whole lot of shit trying to [record] it; it was probably the hardest record to make at the time. For one, when I started playing guitar that caused friction between me and Stephen. My intention when I started to play guitar wasn’t to take the band in a different direction, I was just in a very creative space and just writing music and coming up with stuff. Stephen didn’t mind at first, and I think the first song we wrote together was Change (In The House Of Flies), which was the big single off that record. We wrote that together, and were like, ‘Wow! We did this!’ I know that he wasn’t too happy about me playing guitar, but he couldn’t deny the fact that we wrote a great song. What eventually happened was that he and I, without making it apparent, were trying to outdo each other. He would write a song like, say, Elite and I was like, ‘That’s an awesome, heavy tune,’ and then I’d say, ‘Look at this!’ and I’d written Digital Bath. We kept trying to outdo each other and in the meantime we were building a big tower of music, and songs that were great. It actually ended up working out in the long run.”

They May Have Enjoyed The Odd Party Or Two While Recording

Chino: “We did put a lot of blood, sweat and tears into it, but we kind of lived wild when we made it. We all moved into this big house in the Hollywood hills right after New Year’s, on January 2, 2000. It was a wild time. I didn’t have, and never really do have, a definitive idea of what I’m going to sing about or what I’m going to write about lyrically. But everything I was writing about at the time, to a certain extent, I was kind of living. It was five guys living in this mansion, sleeping very little, and with our heads buried in music… We were all living like there was no tomorrow, and there’s a lot of stuff in there, lyrically, that I was singing about that was going on from Knife Party and Digital Bath – a lot of psychedelic, drug-induced songs. That was actually what was going on at the time.”

Abe: “We were loud, young men having a blast! We had a pretty large recording budget, whereas our previous records were done pretty cheap. Going into these sessions we had budget – and we spent it! We worked really hard, but there was a lot of excess…”

It Taught Them Some Lessons About The Music Business

Chino: “I felt its success was well-deserved. I was extra-cocky, too, because White Pony was not a nu-metal record. At that time in the charts, higher than us were bands that were spawned from what we started but were doing it intensified by 100. Limp Bizkit was an intensified version of Adrenaline. I knew why people liked it, but my instinct was, ‘Fuck that, I want to do something completely different,’ which we did. When we were successful with that, it made me believe in myself and to follow my heart in doing what we do… I do wish the record had never got re-released [with Back To School as the first track], that was like an 11th hour [decision]. The label told us how great the record was, and after the press and fans did too, and it was selling, it was like, ‘You can get more out of this!’ It was a lesson learned in greed, you know what I mean? Because that’s what it was, it was a greedy move by the record company and, by default, us.”

It Did A Lot To Ensure Their Legacy

Abe: “It’s our best attempt at trying to meld all the sounds we love into one thing, and I actually think we really pulled it off on that. People obviously like us for different reasons, some like the harder stuff, some like the softer stuff, and that record just encompasses everything at once. It’s a pivotal cornerstone in our existence and a favourite of many people who dig our music. I have nothing but good things to say about this White Pony now it’s an older horse. We branched out, and that’s probably why we’re still around today.”

Chino: “I’m really proud of it. It’s a really dynamic record, it goes through a lot of peaks and valleys, and that’s what, to me, makes an album really interesting: you don’t just hear the first couple of songs and you’ve heard the whole thing. Every song goes somewhere else, and comes back full-circle. I love it.”

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Posted on June 20th 2020, 9:00am



Text source from: https://www.kerrang.com/features/deftones-an-oral-history-of-white-pony/

“This record embedded in our brains”: the endless power of Deftones’ ‘White Pony’

Deftones in 2000. Credit: James Minchin III

“Massive in pretension, slightly too long and gothic,” read the original NME 8/10 review of Deftones’ ambitious third album ‘White Pony’ back in 2000, “but when all the pieces fit, you can’t deny its unstoppable power.”

So powerful was the experimental ambition, pure musicality and onslaught of bangers on the Sacremento art-metallers’ opus that here we are celebrating it two decades later. As the band themselves would attest, the true promise of the album – which turns 20 today (June 20) – has only bloomed over time.

“I would describe the record as a slow-burner,” frontman Chino Moreno tells NME. “I remember when we were first putting it together – the songs were expansive and it all goes through a journey – but I don’t think that you can completely take that in when listening to it for the first time. The more you listen to it, the more you get out of it. It lends itself to having a longer shelf life.”

It certainly wasn’t what was expected at the time. Forming in 1988, the band bonded over a love of The Cure, The Smiths, Depeche Mode, alongside alternative pop, metal, trance, rap and hardcore punk as much as the emerging grunge scene that came to the fore throughout the early ‘90s.

Their melting pot of tastes made Deftones seem a welcome alternative when they arrived with the gloomy but brutal and quickfire post-hardcore of debut album ‘Adrenaline’ in 1995. The record drew comparisons to Nine Inch Nails and Smashing Pumpkins, but was also sadly tagged with the lazy label of ‘nu-metal’. Lauren Mayberry, now singer of Scottish synth-pop trio Chvrches, became a fan as a teenager. “It was ‘nu-metal’ but also it wasn’t at all,” she says. “There were soundscapes and stories and it just felt different from anything else we were listening to at the time. It was hardcore but it was post-rock, shoegaze, trip-hop, so many other things.”

‘Adrenaline’ sold modestly and word-of-mouth success kept them going through to 1997 follow-up ‘Around The Fur’, a record that further emphasised their and post-punk influences. The washed-out, weird single ‘Be Quiet And Drive (Far Away)’ became an MTV2 anthem and set them apart from the rest of the scene, but you’d still hear them mentioned in the same sentence as KoRn and other nu-metallers. By the time the turn of the century rolled around, rock music was in the clutches of berks like Limp Bizkit and Kid Rock, and rap-rock was co-opted as the party soundtrack to boozed-up frat boys.

Deftones knew this was their moment to make their mark and show the world who they really were. “People can recognise that ‘White Pony’ was just five guys hanging out, taking chances and believing in themselves,” says keyboardist Frank Delgado. “We were blazing our own trail, considering what was going on in the musical climate. I think it still sticks out for people.”

Drummer Abe Cunningham agrees: “We always existed in our own bubble. Up until this point, we had a tiny bit of success with the second record. We didn’t have much radio play, maybe a little bit of video stuff on MTV, but we just did what the fuck we wanted.”

Recalling the laid-back vibe and open approach when writing and recording ‘White Pony’, Moreno remembers it as “a wild time”. “I was 26-years-old when we recorded it,” he says. “We were young and full of life and the record mirrors that. We all lived together on houseboats in South Toledo on the other side of the Golden Gate Bridge from San Francisco. Every day was an adventure. We were just having a blast and it felt really liberating to know we were taking a chance and living through it. When I hear that record now, it definitely takes me back to that time.”

He continues: “It’s funny how many people love that record now. I remember when a lot of fans first heard it and were like, ‘What is this?’ We just came off ‘Around The Fur’ which was a lot more aggressive in some ways and people were like, ‘What is going on here?’ I remember going into a chat room and had to get out because I was about to cry.”

‘White Pony’ certainly reflects that sense of adventure in sound. From the slick grooves meets woozy atmospherics of ‘Digital Bath’ to the pummelling rage of ‘Elite’, the glitchy tenderness and intimacy of ‘Teenager’ and anthemic primal scream therapy of ‘Knife Prty’, it’s an album bombastic in its dynamics and consistent in containing its own nightmarish little dream world.

“We were young and full of life; the record mirrors that” – Deftones’ Chino Moreno

Moreno had the cosmic horror movie lyrics to match the filmic sound. “New, cool meat / She pops the trunk, and she removes me,” he sings on ‘Feiticeira. On ‘Change (In the House Flies)’ he croons: “I took you home, set you on the glass, I pulled off your wings, then I laughed”. The spirit of the album is probably best represented by ‘Passenger’, a duet with Tool’s Maynard James Keenan that sees the pair howl over an operatic epic about a car ride about to spin out of control: “Mirrors sideways, Who cares what’s behind? / Just like always. Still your passenger.”

“We were recording in South Toledo, and [Keenan’s other band] A Perfect Circle were playing nearby,” recalls Moreno. “I remember because we got pulled over by the cops because I was speeding on the freeway on the way there. The next day, he came by the studio. We had just finished ‘Change’, and it wasn’t until we were near the end of the record that I still hadn’t had any ideas for ‘Passenger’. We just sat there and wrote it line-by-line. It was fun to collaborate with someone of his calibre. For me, as a singer, to trade lines with someone with a voice like his was super-special.”

For an indication of the album’s weirdness, look no further than the fact that Maynard plays bowls on it. “Next door to us was another tiny room where Foo Fighters were trying out new guitarists,” remembers drummer Abe Cunningham. “There was a line of like a hundred people trying out for Foo Fighters, and we’re next door when Maynard rolls up with these Tibetan glass bowls going ‘Woooo… woooo…’. It was great.”

The album was released to universal critical acclaim – but the bafflement of some fans – on June 20, 2000. Either way, the band became known as ‘the heavy metal Radiohead’. Maybe that was just because snobs didn’t consider hard rock to be all that ‘clever’, but here was a heavy band wearing long Dickies board shorts, with tube socks pulled up to their knees, who had created a complete mood-piece from start to finish.

Well, for one year at least. In 2001, the band’s record label Maverick re-released ‘White Pony’ with the single ‘Back To School’ lazily tacked onto the start. “Look back I sift through all the cliques – roaming’ the halls all year, making me sick,” spat Moreno on the band’s radio-friendly, rap-heavy anthem for high school losers.

The band protested and spoke out about the revised track list, but if you go on Spotify today, this is the version of the album you’ll find. Moreno later called ‘Back To School’ “a calculated song, that had been built up with only one aim in mind: It should be a single”. He also admitted “I liked the sequence [of the album] we had when we first turned it in. When this version came out, a little part inside all of us felt like, ‘Fuck! We just totally compromised,’ and I know that a lot of our fans felt bad about it too.”

Still, the track’s mass appeal of led many down the rabbit hole to discover the truth about ‘White Pony’ – such as Lauren Mayberry, then a young mosher finding herself.

CHVRCHES backstage at Reading 2019. Credit: Andy Ford/NME

“I remember being at someone’s house and seeing the video for ‘Back To School’ on TV,” she tells NME. “At the time, everyone I knew was listening to Blink-182, Green Day, Bouncing Souls or Britney Spears – but most of the nu-metal stuff that was around didn’t really appeal to me as it felt very forcibly macho. I don’t think I could articulate it in those terms at the time – more that it just felt inaccessible when I was trying to listen to it and trying to be ‘down’, and I couldn’t figure out why.”

As well their genre-defying approach, Mayberry also fell for Moreno’s twisted way with words. While Moreno describes them as “not personal” but “just a vibe”, his vivid poeticism certainly leaves a mark.

Says Mayberry: “I like that he really paints with his words and there is often a duality in what he’s saying or how he’s saying it. He can talk about love with imagery that is really grotesque, or say something very sweet in an environment that sounds really aggressive. I think the fly in the ointment is the thing that makes you think twice.

“Most nu-metal stuff didn’t appeal to me as it felt forcibly macho” – Chvrches’ Lauren Mayberry

“Lyrically, there were songs about love and obsession, moments of real darkness and weirdness, religious images, and then a song like ‘Passenger’, which to me always felt like it was a sort of coming-of-age romance or friendship story. I can’t think of any other nu-metal band who were going that deep.”

With a band that screamed of otherness, Mayberry felt at home among their fandom – something that wasn’t that easy in rock at the time: “As a teenage girl coming-of-age in a moment where a lot of bands, shows and other fans were very clearly not open to your presence, it meant a lot to me, and it’s something I’ve thought about as I’ve gone through my career as well.”

Mayberry remains a hardcore Deftones fan to this day – a fact made all the sweeter when Moreno handpicked Chvrches to play with them at their festival Dia De Los Deftones last year. The decision made headlines when Hatebreed singer Jamey Jasta argued that a heavier band should have taken their place, completely missing the point that Deftones’ appeal goes far beyond the metal community.

That’s why an album like ‘White Pony’ resonates so strongly today. Would it be fair to say that it challenged what a metal band could be?

“Oh yeah, absolutely,” replies Deftones Jason Butler, super-fan and frontman of Californian hardcore political punks Fever 333. “Whether people know it or not, whether the band know it or not, they changed the game. There are a few albums you can look at and say, ‘This changed my life’, but the game? Deftones’ ‘White Pony’ did that.”

He continues: “What they and [producer] Terry Date did, from Abe’s cathedral-sounding drums and the weird sound on Chino’s voice to the guitar, Terry’s soundscapes and the bass – everything about it was so different. If you were to isolate any of it, I don’t think people would have understood it the way that they did. That’s what makes something perennial.”

FEVER 333 perform live, 2019. CREDIT: Getty

From the heavy AF realm of Fever 333 and Deafheaven to the poppier likes of Chvrches, Muse, and Paramore, ‘White Pony’’s is as much about spirit as it is about sound.

“That album really showed me that you should feel free to eradicate and obliterate all the boundaries,” Butler says. “It doesn’t matter that you may have been influenced by or even sampled from other genres that typically don’t go together, if you can do that tastefully and genuinely, you should do that. You should take the risk.”

‘White Pony’ went platinum in 2002 and became beloved as one of the landmark albums of the 21st Century – of any genre. To draw on the old Radiohead comparison, it was a watershed moment like ‘OK Computer’ or ‘Kid A’.

And the band themselves will now be giving the record the celebration it deserves: later this year they’ll be reissuing ‘White Pony’ with the original tracklist. They’ll also fulfil their dream of releasing a remix album called ‘Black Stallion’, featuring their hero DJ Shadow. Bizarrely, the band approached the Californian producer about this before they’d even made the album.

“‘White Pony’ changed the game” – Fever 333’s Jason Butler

“We’d talk about the record before we’d done anything and say, ‘Our new record is going to be so good that we’re going to have DJ Shadow remix it’ and we’ll call it ‘Black Stallion’,” says drummer Abe Cunningham. “I was DJing and opening for him before me and Chino cornered him at The Cattle Club [in Sacremento]. “We were like, ‘We want you to remix our record!’ He looked at us like we were crazy and said, ‘Send it to me and I’ll listen’. We told him, ‘We haven’t actually written or recorded it yet…’ It was batshit crazy of us, but what’s more crazy is that now he is part of it.”

You certainly can’t deny the “unstoppable power”, as NME put it, of the record: “This record was just embedded in our brains before we put it down to tape,” says Cunningham.

“Going against the grain, doing something daring and actually being successful gave us the confidence to keep going through the years and try different things,” concludes Moreno. “When we started, we didn’t know what kind of band we were going to be. With this record, it helped us to go down that road to figure it out.”

That’s the message that ‘White Pony’ inspires: keep going, do what you want, ride on.

– Deftones’ ‘White Pony’ 20th anniversary reissue will be released later this year. The band will be hold a digital listening party for the album on Monday June 22

The post “This record embedded in our brains”: the endless power of Deftones’ ‘White Pony’ appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

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Deftones Have Discussed Releasing Eros Material as an EP

The partially-finished Eros project has long been a hot topic of Deftones lore. The band had been working on an album with that tentative title as the follow-up to Saturday Night Wrist, released in 2006, when bassist Chi Cheng was in a 2008 car accident that left him incapacitated. After a period of grieving, the band enlisted former Quicksand bassist Sergio Vega and started a new album from scratch, eventually releasing Diamond Eyes in 2010. Cheng would pass in 2013, but the topic of Eros has come up in interviews ever since, with the band members consistently expressing hesitation about returning to that material.

In a recent chat Download TV conducted with Deftones’ Abe Cunningham over the weekend, the drummer addressed the topic, sharing his thoughts on whether it would ever be released:

“…It was never completed, and that’s what people don’t get, like, ‘What, you’re just sitting on it?’ and I mean no, we’re not just sitting on it, we never finished it. And then he [Chi Cheng] got in his accident and that’s kinda where it just stopped.

“And quite frankly it’s not that good. There’s some songs that are really good. But I gotta be honest, it was like, you know, we were just trying to get back to it and see what we can come up with then… and it’s not that it’s not good, it’s just… there’s a lot attached to it as well, you know? And I understand that people are passionate about that and they want to hear Chi‘s last musical contribution.”

I’m not sure I ever realized the extent to which the Eros tracks were unfinished — I’d thought they were in a mostly recorded state with just some finishing touches needed — but Cunningham makes it sound as if the writing was far from complete with lines like “we were just trying to get back to it and see what we can come up with.”

Cunningham went on to discuss whether the material could ever see the light of day in spite of that:

“We’ve talked about putting out maybe a condensed version or an EP of four or five songs, something like that, and that kind of makes sense. But we have to get into all the legalities of it and all that stuff and also we have to finish it. But yeah, it would be nice for that to see the light of day, definitely.”

Can you imagine revisiting stuff you started writing 12 years ago and trying to get back in the groove with it? It’d be awkward, you’d be out of sorts, disconnected, in a completely different place now. What’s more, all that emotional baggage connected to this particular set of recordings, as Abe acknowledges.

Needless to say “we’ve talked about” is not the same as “we’re going to,” but “we’ve talked about” is still better than “we will never” as far as Deftones fans are concerned. Having said that, given all the fan discussion surrounding Eros over the years — and Cunningham’s stated reluctance due to the unfinished nature of it — it’s hard to imagine it living up to expectations at this point.

Elsewhere in the same interview, Cunningham revealed that the band’s new album is fully mixed and they’re eyeing a September release for it, although that is by no means a confirmed time period.

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New Deftones Album is Complete, Band Eyeing September Release

The Deftones are moving at a typically Deftonesian pace on their new album, which they once promised would be out in 2019, but it seems we’ll get to hear it sooner rather than later: drummer Abe Cunningham indicated in a new interview that the record has now been fully mixed and has moved into the mastering phase. What’s more, he hinted at a possible September release.

Speaking to Download TV as part of this weekend’s virtual celebration of the canceled U.K. festival Download, Cunningham said of the album’s progress:

“We actually tracked everything over the summer, last summer—June and July—we were in the studio tracking. And we’re just taking our time. But we actually just completed everything. We’re mixing…. We were down in L.A. recording, but we mixed up in Seattle.

“We’re working with our old pal Terry Date, who did a bunch of our earlier records and stuff too. He’s up there with this while distancing thing, it was a bit rough, but we figured out a way to kind of do the mixes without being there. It’s a lot better when we’re all in the room; we can knock it out quick and argue and do our things. But, yeah, we just completed that. It’s getting mastered right now, and that’s been the main thing. So it’s been something to do in this strange off time.”

Later, when asked when the record might surface, he was coy, offering simply: “It should be coming along, hopefully, maybe September. I heard something. I can’t remember…”

Take that timeline with a heaping spoonful of salt: like we said, Deftones are gonna Deftones, and they always take longer than they say they will. But who knows, maybe we’ll be sitting here in three months time with new music in our virtual hands.

[via The PRP]

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DEFTONES’ ABE CUNNINGHAM On Upcoming Album: ‘We Can’t Help But Sound Like Ourselves’

DEFTONES drummer Abe Cunningham has offered an update on the band’s follow-up to 2016’s “Gore” album, which was recently recorded for a tentative late 2020 release. Speaking to Download presenter Kylie Olsson, Abe said (see video below): “We actually tracked everything [for the new LP] over the summer [of 2019]. Last summer — June and July — we were in the studio tracking. And we’re just taking our time. But we actually just completed everything. We were down in L.A. recording, but we mixed up in Seattle. We’re working with our old pal Terry Date, who [produced] a bunch of our earlier records. He’s up there [in Seattle]. With this while distancing thing, it was a bit rough, but we figured out a way to kind of do the mixes without being there. It’s a lot better when we’re all in the room; we can knock it out quick and argue and do our things. But, yeah, we just completed that. It’s getting mastered right now, and that’s been the main thing. So it’s been something to do in this strange off time.”

Asked about the sound of the new DEFONES material and whether it is “heavier” than “Gore”, Abe said: “It’s all that. It’s always hard to describe it. I’ll say this… We can’t help but sound like ourselves, but just being back with Terry, there’s certain sounds that we developed with Terry that kind of became sort of our core sounds, and those are back again.”

As for a possible release date, Abe said: “Maybe September. I heard something. I can’t remember.”

In a recent interview with Apple Music, DEFTONES vocalist Chino Moreno stated about the band’s decision to reconnect with Date for the new album: “We’ve always wanted to go back and make records with him again… We love Terry. He’s pretty much been there since the beginning of us making records, and we just vibe with him really good. I mean, he’s super easy-going. He’s not a producer that is in there trying to push his ideas into what we’re doing other than just capture what it is that happens when we get together, as well as speaking up and telling us when stuff isn’t where it should be or whatever. So he’s just a great dude, and making this record with him was awesome. I think our main goal was to make sure that everybody in the band was involved, to an extent. I think our best records are when we’re all firing on all pistons, each one of us individually and collectively. So that was, I think, the only thing that we aim for, really.”

Earlier in the month, DEFTONES postponed their 2020 European tour due to the coronavirus pandemic sweeping the globe. The trek, which was originally set to kick off on June 9 in Lyon, France, will now take place next year.

DEFTONES have released eight studio albums to date and have sold over ten million albums worldwide.

DEFTONES is Moreno, Cunningham, programmer Frank Delgado, guitarist Stephen Carpenter and bassist Sergio Vega.

“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. The band also curated, launched, presented and headlined its own festival, Dia De Los Deftones, in 2018. Selling out both installments to date, the eclectic lineups hosted everyone from FUTURE and CHVRCHES to GOJIRA and MEGAN THEE STALLION.



Text source from: https://www.blabbermouth.net/news/deftones-abe-cunningham-on-upcoming-album-we-cant-help-but-sound-like-ourselves/

Fleshgod Apocalypse Live Vocalist Releases Deftones/ Britney Spears Mash-Up

Veronica Bordacchini, who has been Fleshgod Apocalypse’s touring soprano vocalist since 2013, has released “Change (In the House of Toxic),” in which she sings Britney Spears’ “Toxic” over the music from — you guessed it! — “Change (In the House of Flies)” by Deftones. Technically, it’s a cover of a viral hit from last year. Regardless, coming just two days off of House of Spirits’ mash-up of Led Zeppelin and Tool, it’s got me thinking highly of live mash-ups. Thoughts?

[via The PRP]

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