| ⭐⭐⭐ |
Ever the enigma, Deftones began their career churning out some of the most beloved, influential alternative metal and hard rock of the turn of the millennia. Helping to usher in the nu-metal phase of music history, they’ve had a unique relationship with each generation of fans. It seems they’ve been experiencing a resurgence in the social media age, as general fashion aesthetics have begun trending back to the Y2K era. It just so happens that one of the more unassuming but consistent bands of that time is the mighty Deftones. Being in the right place at the right time is only half the equation though, as they do boast some of the most angsty, white-hot recordings of their time. ‘Around The Fur’ and ‘White Pony’ feature searing riff after searing riff, as well as frontman Chino Moreno’s trademark vocal style. Sometimes he rapped, sometimes he crooned, sometimes he shrieked. It makes for a continuously fresh listening experience, even if the instrumentation sometimes runs a little one-note.
Deftones have continued to experiment with more left-field stylings as the years have progressed. ‘Saturday Night Wrist’ incorporated electronica to contrast their traditionally rock sound. ‘Diamond Eyes’ lightened the load with a decidedly toned-down approach. Still Deftones, but it was clear they were aging, and they needed to match that. This trend continued until it hit an apex in 2020, their last studio album before today’s subject, the progressively-tinged ‘Ohms’. As admirable an attempt at lengthening their sound as this was, it left a lot to be desired on the writing and pacing front. Even the production was notably flat for a Deftones release. It would leave a somewhat sour taste in the mouths of those who weren’t already hardcore fans of the band. Hence why the bar was significantly lowered when it came time to unleash ‘private music’ on the world. They only had to vault half the height they normally would, and thankfully the band at the very least is able to do *that*.
On ‘private music’, Deftones bring back some of their more classic fire for a decent return to form. While I don’t necessarily think this is the band totally being back and locked all the way in, I do hear a far more desirable direction being travelled in on a handful of tracks here. The opener ‘my mind is a mountain’ is the most truly vicious the band has sounded since the 2000’s. ‘ecdysis’ contains the best drum and bass groove of the whole project, and Chino’s most visceral vocal performance too. ‘milk of the madonna’ is *the* catchiest Deftones song I’ve heard in a long time. Very simple in its construction too, it’s a 3 note riff that glides over a pulsing back-beat, but it is so irresistible in its execution. Chino’s strained chorus piles onto the enjoyment, it feels like an upward ascent. ‘cut hands’ resembles the kind of snarky rap-rock of the late 90’s-early aughts that made it such a force for its time. Deep, bendy riffs envelop Chino in this blast-from-the-past rager.
Unfortunately, I wish I could say I truly love the rest of the album as much as these highlights. While tracks like ‘souvenir’ and ‘departing the body’ feel more immediate even for their length, the excitement wears thin as they don’t quite manage to alter the initially blissful sound. They feel directionless, like they’re missing a little piece to complete the puzzle. ‘cXz’ is similarly savage like a lot of the more solid tracks, but runs a little redundant next to songs that bring a similar energy but nail the tune aspect. ‘~metal dream’ is a wilted attempt at shoegaze, complete with beige, wall-of-sound guitars and a brick of a mix. Chino’s vocal presence is non-existent too, just to make matters even less appealing.
For all of its excellent highs, there are almost as many moments where the band falls short of its intended target. It sounds like there’s still a hesitation to leap fully into a harder sound, and that’s unfortunate, because when they do start to walk that way, it feels totally refreshing. Deftones would do well to keep amping things up, not just for their listeners but for themselves. Better still, an album that welcomes all of their musical diversity, yet blends it all with more fluidity. I like that option more.
Dan Will Review 